So... I'm finding that there is something seemingly harmonious in drawing all of the samples I use in a song from a single source. I also find that these can be sliced up and put back together in ways that don't bear much resemblance to the source material. Today's victim is the 1987 film "Angel Heart". The samples are mostly Lisa Bonet, with a splash of Mickey Rourke. There is something musical about most people's voices when speaking. Lisa Bonet has a breathy-ness that sounds great here.
Also, as I continue to fetishize equipment, I am working on my recorded bass tone. I have a new signal processor at work here. So far so good with that.
Thirdly, I have a new guitar in play on this song and the previous song ("Waiting"). A lot of my interest in guitars comes from my background as an Industrial Designer, and I am fascinated by the history and evolution of guitar design for mass production, sourcing, and all kinds of other mundane details.
A small local builder sold me one of a pilot run of a new model that is an exercise in how inexpensive can a small boutique builder produce a full-on American guitar. The result is a delightful guitar called the Titan. It's used on all guitar tracks on "Epiphany" and on half of the tracks on "Waiting". It is a guitar that is greater than the sum of its parts. It is lively and resonant. I've been picking up some guitars from a few smaller builders in recent years. While I am still soundly a Fender bass guy, the smaller guitar makers (Bilt, Rhoney and Kauer, among others...) of the world have moved my taste on guitars out of the mainstream. Kauer/Titan have now made that choice a bit more economically viable, sacrificing little to get there. I'm sure I'm not doing the Titan much justice with my simple playing... but I like it a lot.