a call for participation

Weez and I are collaborating on another audio project, and we need your input, dear reader:

  1. How long should the track be? Choose any value between 120 and 300
  2. How should the guitar be tuned? Choose one of the following:
    • E G D G E D
    • G G C G C D
    • C G D G B B
  3. How many guitar tracks should there be? Choose any value betwen 1 and 4.

Pick one question and answer it. First come, first served.

After we have answers to these questions, I will record guitar parts in small
enough chunks that they can be looped and arranged in a variety of ways. Weez will record voice tracks in a similar fashion. Then we will share GarageBand files
of what we’ve recorded and, independently, come up with two final mixes,
arranging the guitar and vocal (and possibly percussion) parts as we see
fit. Two sound files. Many collaborators. Game on.

Update: Weez has posted questions, too.

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7 thoughts on “a call for participation

  1. Sorry. Is there some kind of time lag on Firefox? (I’m sorta/maybe switching from Safari). The comment didn’t show up so I posted again. And look: humiliation!
    Anyway, I reiterate: 300 seconds.

  2. How many seconds was that, Miriam?
    Okay, only one question on my site left: guitar tuning. The traditional tuning of a guitar is (low string to high string): E A D G B E. I’ve not played much, at all, in alternate tunings, but musicians as diverse as Sonic Youth and Joni Mitchell use them.

  3. Opening tunings first gained prominence in American musice with the blues, when solitary musicians used them to play both the rhythm (chords) and a lead at the same time.

  4. Relevant post on pianist Glenn Gould by Amardeep Singh, who quotes a biography as follows:

    Gould approached the studio, or at least liked to say that he approached the studio, without fixed ideas about a performance, trying out different approachesóthis is what he enjoyed about recordings as opposed to concerts, notwithstanding that his various takes might be nearly indistinguishable to anyone except himówhile he regarded the finished album as something listeners could modify according to their whims by fiddling with the hi-fi. “Dial twiddling,” he pointed out, is “an interpretative act.”

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