Parts a, b, c and d sketched out, but only a small part of A, and nothing for B and D? It was time to hit the major ones.First up was part D, for which I had refined my initial definition to be something kinda dub-reggae, and that for me meant a melodica as a lead instrument. I also wanted to have a fretless bass guitar for it, but looking at my available hardware, didn’t make up my mind among the Ibanez EDA five-string or the Hohner headless fitted with a DiMarzio Number One. No problem, for now, it was to be a HALion patch as a mockup.
First sketches for a drum groove to start with came from Stylus’ RMX library (which I later on had to do without due to the move to 64bit, so I reorchestrated the instruments using GrooveAgent for now, plus acoustic hihats from HALion), and the bass, melodica and a pad synth (all HALion) came from me.
My main concern at this point was theme, bass line and harmonies, and in a later run, I added a melodica solo and, after a tentative gap, a part with off-beat piano chords (with “that M1 sound”), the very groovy electronic snare frome earlier here replaced with a dead-accurate offbeat sample from a Joey Baron live performance with Masada (I love that snare sound…)
I had, quite early on, written down a kinda-modal bass line for part B, putting a ternary feel (quarter triplets) against the alla breve meter. For drums, I had thought to reuse parts from the “A Tätowierte Katz'” sessions, but extract dynamics/timing info from them and trigger synths with it. For now, I sketched out a two-bar groove, using a Groove Agent preset as sound source.
As I said, ideas had been present for some time, but now was the time that I had ideas for a theme. Using a hardsync-style synth lead patch for it, and adding a kinda-digital pad for harmonies, I was able to create a starting point for part B.
I continued to implement bass and drums for further progress in that track, but then ran out of ideas and decided to give it a rest.