02 February, 2013

Got some recording done this afternoon.

Gather round, my little illiterati, and let Daddy Charlie tell you a story.
One time, Daddy Charlie met a woman. He found her fetching and her forwardness was refreshing. So, yeah, they fucked. And then they kept fucking because they figured that neither of them was all that abhorrent. And then one special night, as Daddy Charlie and The Woman in Question were between maybe their second and third bout, resting up, and having a bit of pillow talk, The Woman in Question gave Daddy Charlie a challenge: Write a song about her ass.
Not about her ass as in her, no, but about her ass as in her ass.
Daddy Charlie accepted the challenge and decided that he would, yes, he would write a song about his paramour's ass.
After a few false starts, Daddy Charlie had a riff that he could work with. He had some oscillator nonsense that sounded good. And then he programmed the drums. Now all he had to do was find a time to record it.
You see, the odds were against Daddy Charlie, as the dormitories above his quarters were occupied. But then, one day, the dormitories had cleared out and Daddy Charlie was able to finally let the amps fucking rip.
For the bass, Daddy Charlie decided to use the old Big-Muff-π-as-a-compressor trick that he hadn't used since IO - The Kilowatt Hour (aka the sucky record), wherein Daddy Charlie runs the bass through the pedal with the distortion dialed all the way down. From there, he split the signal using an Arion stereo chorus pedal into his Traynor and Da Vinci amps.
After that, for probably twenty, thirty minutes the amps and the chorus pedal were giving him problems so he figured he would wait until they were done with their bullshit. He had a cigarette. And a beer. Then another cigarette. Then he finished his beer. Then he thought about calling The Woman in Question because, fuck, why not, right? But then he got back to business.
Daddy Charlie split the guitar through the chorus pedal into two channels: One was into the Big Muff π into the Da Vinci, the other was into the octave divider, into the delay, and then into the Traynor. Daddy Charlie didn't like the way this sounded, so Daddy Charlie had to go back and record the guitar straight through the Big Muff π into the octave divider into the delay into the Traynor with the Audio Technica mic aimed 90° at the center of the cone and the West Electric mic aimed 90° at the outer edge of the 12" Fender speaker. Daddy Charlie liked how that sounded much better.
Now all Daddy Charlie has to do is record vocals for four songs and the new KRAKOA EP will be done.
 
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