Oh wild. I always go the other way (reverb last). I’ll have to try this - though shimmer 'verb is not my style so much.
As always, you rule. Really love the style here.
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I’ve mentioned liking your Yello-like vibe but really I keep coming back for the song titles 
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Thanks Howard, I like the way it came together…I want to try running the shimverb into a rotary speaker if not for the rhythm then for key board like stabs. we’ll see.
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This is why I keep 2 reverbs (minimum) on my board at all times. I run my Mercury 7 before chorus which just does the craziest reverbs you’ve ever heard, but the cathedral on it sounds spectacular. I put my Keeley second, because it’s got the delay on it, which I like after the chorus, and because it shines with the soft focus reverb (think Souvflaki era Slowdive).
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Thank you!
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Dawn’s Early Shadows is from the Bolsheviks of Madrid album, Sixty Second Chances. (Cover art by Todd Alcott) Bret made two slightly different music videos for Dawn’s Early Shadows, the twenty-first of 60 videos.
Also, for audio only, here is a Spotify link:
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Can You Copia is from the Bolsheviks of Madrid album, Sixty Second Chances. (Cover art by Todd Alcott) Bret made this music video for Can You Copia, the twenty-second of 60 videos.
Also, for audio only, here is a Spotify link:
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Toothpick Dancefloor is from the Bolsheviks of Madrid album, Sixty Second Chances. (Cover art by Todd Alcott) Bret made this music video for Toothpick Dancefloor, the twenty-third of 60 videos.
Also, for audio only, here is a Spotify link:
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I’d recorded this and did a video some time ago and I listened to it the other day and said this could be better. I adjusted some things, and redid the video as well. At it’s heart it’s still a representation of what remains after the loss.
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Clandestiny is from the Bolsheviks of Madrid album, Sixty Second Chances. (Cover art by Todd Alcott) Bret made this music video for Clandestiny, the twenty-fourth of 60 videos.
Also, for audio only, here is a Spotify link:
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Destination Gas Station is from the Bolsheviks of Madrid album, Sixty Second Chances. (Cover art by Todd Alcott) Bret made this music video for Destination Gas Station, the twenty-fifth of 60 videos.
Also, for audio only, here is a Spotify link:
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For 99% of you all, this is going to have Chuck Berry on stage with Yoko Ono vibes. It’s not “good” for anyone with taste. I started out playing with all of my pedals on at once (this is where the name came from) and ended up recording it for about 10 minutes. I pulled this snippet out of that and set it to music that I got off the Bloom app (Brian Eno’s generative music project). I was trying to do things that bass guitars aren’t normally thought of as being able to do.
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Very nice ambient noise. I have heard album tracks that were worse, it’s cool 
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Thank you, I unleashed my Meris reverb and let it go fully weird here. Also realized I ripped off part of a MBV guitar line.
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Actually the whole thing has a nice Kevin Shields vibe, yeah
Now I need to start looking for a band that will let a 2nd bassist play the distortion guitar parts. I think it’s doable tbh.
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Weapons Check sounds atmospheric and cinematic.
It also made me think of slowly twiddling the knobs on an old analog synthesizer.
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The Open Gate is from the Bolsheviks of Madrid album, Sixty Second Chances. (Cover art by Todd Alcott) Bret made this music video for The Open Gate, the twenty-sixth of 60 videos.
Also, for audio only, here is a Spotify link:
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Dark Dirk is from the Bolsheviks of Madrid album, Sixty Second Chances. (Cover art by Todd Alcott) Bret made this music video for Dark Dirk, the twenty-seventh of 60 videos.
Also, for audio only, here is a Spotify link:
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The guitars were Roland BeeGee fuzz->Flanger->Digitech delay and Rat ->Flanger->Digitech delay
bass was compressor->distortion->highband flanger->delay…all from an old Boss ME-6…no amp or sim just right into the board
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