Skiers know of snow snakes and cable snakes do the same thing except you don't get applause from the ski lift when you crash.
My friend was talking of tidying up her studio and that's what prompted the thinking but this is nearly as tidy as the Rockhouse can get. Those are mostly thirty-foot stage cables and it's hella expensive to replace them with short ones.
As to what the stuff does, the Boss RC-50 with the red panel in front is the primary looper. Behind it in the back is a bluish Yamaha mixer and it feeds the looper. It usually only has two channels running into it, the bass and the keyboard, and it changes rarely so it doesn't need to be all that accessible. The guitar and a secondary microphone go into it as well when I want to add them to a loop. At all other times, the Galaxy Guitar is direct cabled to the primary mixer.
The legs belong to the keyboard stand and the looper is positioned relative to that because it's more likely I will be changing phrases from that situation. For recording loops, I can move with the guitar but not with the keyboard so here sits the looper.
The flanger just sits there looking wistful because it doesn't have a job right now.
The danger level in here dropped just by moving one camera because its position made it insanely difficult to try to get around in here in the dark ... which is most of the time. It may seem I exaggerate but I've crashed multiple times. Yevette will hear a crash from the other room and know right away, jeebers, he's down again. It's not simply age as, even if you're a Flying Wallenda, the Rockhouse would be difficult to negotiate.
"The Sanctuary Song" is temporarily on-hold although I have been playing it without recording because I want to see how much the vocal can be pushed. It's not a song for screaming or any kind of acting but it can't be like the solo acoustic guitar who sits on the stage and sings while he looks at the floor. My voice is highly unfamiliar to me and it's an unusual thing hear it 'becoming' since it's really not ever come through as strongly as in this one.
I've made such a huge production out of it and the effect is holding off on even starting because it's such a whole lot of time chewed by a near miss. The huge expectation is the next one has to be it and really it doesn't, I just want it to be. Most likely Take 7 comes tomorrow night.
There's also ongoing study of how it will work if I keep the cameras in-play after the song is over so I can further exploit them. There's also an ethical consideration because nothing in this is allowed to be fake and there can't be any effects added in post-processing. Shooting video clips after the song has finished so I can use them during its actual play isn't true ... but it might be depending on what it shows. Say a cam is put up with the light rack. So long as it doesn't make a clip showing something which didn't happen, it's still true ... mostly.
(Ed: you nitpick the living hell out of this)
Yah but this one has the best chance to be perfect of anything I ever made both for video and audio. The story for "Waiting for a Peace Train in Cincinnati" wasn't too bad with the shoot in Union Terminal up there and I want another story of the same depth to it in this one. I know it's there and it deserves every damn thing I can possibly throw at it.
So, in case regulars were wondering about it holding ... that's why. Over the weekend things go mostly twenty-four hours so it's not over for this evening and may yet happen but most likely tomorrow night.
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