I woke at 8.30 am after a sound night’s sleep and a dream about shopping at a bazaar. On Saturdays, I abstain from my four-tier work ethic. Instead, I choose to work linearly, on one task at a time. Discipline must itself be subject to discipline. I began processing files for Matt. 20.14, and then transcribed another verse from Psalm 32 (LXX). I can do no more than one verse of the Greek in a session; the process of translation and mapping requires constant attention, and errors are inevitable (as in every other department of life):
Into the studio. I recommenced testing the effectors before committing test drones to ‘tape’ (digits (?)). The test-drones were based on an aggregate of a G6sus4 arpeggio plus E below middle C and played on a Gibson Les Paul Custom VOS 1957 guitar through Pedalboard III (August 8, 2014). The board is an enlarged conception of that which was used to articulate Musical Erratum (2014). The active effectors for each test drone are tabulated below:
TestDrone1 presents a chord that had been already established incrementally before the recording was made. TestDrone2, begins on an isolated note and then cuts to the chordal resolution. TestDrone3, and TestDrone4 capture the aggregation of the arpeggio. The opening note of TestDrone4 is a homage to the first note of Robert Fripp’s and Brian Eno’s The Heavenly Music Corporation (1973). Finally, at the end of the afternoon, the four tracks were uploaded to John Harvey: Studium:
An evening with the family.