
If days are wide open, then why not be deliberate and methodical about the work inside of it?
For example, how do you maintain clarity and and lightness with a painfully high Baroque tessitura while giving yourself enough heft to maintain tone during long passage runs? As soon as this cold breaks, I'm gonna find out, one ershutt're dich nur nicht after another.
And like the 12 inch space disco mixes that were always hip (Moroder, Cerrone, DonRay) but almost absolutely very hip now (Glass Candy, Lindstrom, Padded Cell), how do you maintain interest and drama for so long, notwithstanding Donna Summer's reverbed groans and of course those nice dynamic shifts and band re-arrangements?
I'm trying my hand at it, and in the past I've always been a bit, okay, lay down track after track, that's it, cut out the pops and whistles and mash it together with a running time of barely two minutes, hyper detail probably included. Long(er) form is going to be a challenge, since I'm really geared toward micro sound events and blitzkrieg editing, so I'm probably gonna have to switch keys every eight bars or so to keep myself going. I'll post the results.
And of course, Phantasy Star IV during breaks.