I talked about this idea for a long time: doing stuff (like, an album) using only analogue components in the signal chain, and keeping the number of tape generations at the absolute minimum.
Rather than talking, I finally did a first test run – which at this point went into the computer at the end, but still.
The synths are connected to a Mackie 1202 VLZ Pro, with send processing done by a total of four VD400 delays, a Jomox T-Resonator (with its delays disabled), a Boss OD2 and a TC Electronic Dark Matter for distortion fun.
Aux2 goes to a chain of three VD400s, turning this into a one-second-three tap delay. Taps 1 and 3 go into the T-Resonator, tap 2 through the OD2. The fourth delay is fed by Aux1 and has the Dark Matter in its chain. That way, I could have a total of four taps.
The Volca Kick got a Behringer Composer in its chain for adding punch to it. To keep the setup simple, I opted against fancy equalization for the kick chain.
From the 1202’s mains, it’s into an Alesis PEQ-460 EQ, on to an Aphex Dominator II limiter and into the multiface II.
As the Minibrute doesn’t seem to send MIDI clock, both the Minibrute and the Kick receive clock from a Sirius via a thru-box.
As for playing aides, there’s only the Minibrute’s arpeggiator and the Volca’s factory preset #1.
It’s rather simple, really. Preparing, I started up setting all delays to 9 o’clock and then setting the corresponding BPM on the Sirius (around 111). I started playing a few notes on the Minibrute, then brought the Kick in (which runs through playing a kick on every beat for most of the track) and had the arpeggiator noodling while I was twisting knobs (mostly those of the Minibrute and A100).
Stills I took afterwards, assembled in Resolve 14. Which makes the imagery completely boring. An AirWindows NotJustAnotherCD was put on the output, and that (dither) is the only digital processing this track saw.