And with all the compression and whatnot finished, this is an absolute wall when everything swells, but again, not unpleasant, as a healthy range of the frequency spectrum is being represented Lows are still powerful, but not like in the raw audio. Mids and highs are much more present

Resisting a powerful urge to release "andóreiða" as a single, too. This is a really good tune, has a lot of powerful swells, and after the final EQ, the interesting shit the pad layers were doing is much more present in the sound wall.

Harry Potter being awful is not a topic that is up for debate in my comments. If you start arguing with folks about how it's your inalienable right to be a hufflepuff, I will block you. You are an adult, drop the bullshit.

a hell of a time finding all the bands that really poke their heads out in the EQ when one layer is disagreeing, as it were, with another I have it figured out now though, and the part towards the end of the song where the line between dissonance and mud really blurred has been taken care of

"andóreiða" is a stark reminder why I don't actually use the pitch LFOs to affect the common tuning of a layer all that often Often enough they'll hit dissonant intervals with each other as each layer's sequence of pitches runs independent of the others, but with the drift from the LFO, it's been

I love people who make the things. Even when the world is battering the shit out of them -- maybe especially when the world is battering the shit out of them -- they're just working away at their quilt or wooden spoon or game or laser and giving a big middle finger to entropy.

Ratcheting in the sequence in Layer D is also super-subtle, but attentive enough listeners will hear it Just yeah, priority is going to be taking some of the punch out of the low end because good god, listening in headphones and I can really feel the pressure of those frequencies

At no point would I classify what's going on in the lows as ugly or detrimental to the auditory experience, it's just powerful The harmonies being created by the shifting pads in Layers B & C in the patch are incredibly subtle, and at times nearly fade entirely from the soundscape I'm ok with this

Just finished a take of "andóreiða" Don't think the lows will need much boosting, and my god the simulated beating of oscillators in the ultra-low end as Layer B drifts further out of tune on its pitch LFO is *potent*

Recording into Bitwig later after dinner and a walk for some fresh air Am I slightly miffed that this set of sounds turned out as well as they did given my current emotional state? Maybe a little as it gives credence to that whole "suffering artist" thing 🤪

Adding Susan Dell to my muted words list now. Goddammit I'm tired of seeing the ghoul in shoulder pads all over the place

Patch is done and exported. Making a Bitwig project for it and I'll get set up to do a video here shortly before the way I want to perform it slips from my head

very slight motion through the pitch LFO of that layer, the pad sound and the pedal bass are never perfectly in tune, but not so off from each other that it sounds bad It achieves the effect of detuned oscillators though and my god is the beating intense. Pleasant, but intense

So the way I've set up the pedal bass in Layer A and the one set of pad drone sounds in Layer B of "andóreiða" with respect to pitch and register, there are times when the pedal bass (sitting on D1) and the moving pad can hit the same note, *and* because the common tuning of Layer B is in constant,