Cyclick Samples - Droneology [WAV] -Sin

You can keep your jazzy chords, two handed tapping, twiddly scale runs and all that – I just wanna drone.
The range of tones that can be teased from one note on a guitar is stupendous, especially when you add in
all manner of pedals and crank the amp to feedback levels – from lush ringing to searing sawing this simple
setup can really fill out a track and add an oddly organic background texture. As with all such sound sources,
the drone loops featured here can be further morphed and manipulated to create ever more pleasing and
complex sheets of sound – pitch 'em, stretch 'em and douse in reverb, delay and modulation effects.

The drones were all created with real human hands and the guitars, pedals, amps and stuff listed below. The
loops are all 2 bars long and loop seamlessly, but PLEASE NOTE that this is because the loop splice occurs
during the loop so that the start and end are identical, which means played once on its own the loops will clip
at the beginning and end – just put a tiny fade at the beginning of the first instance and end of the last on a
DAW track, or tweak the attack/release accordingly if used in a sampler. There are three loops per
instrument setup per tempo (90, 100, 120, 130, 140 & 170 bpms), though the pedals were often fiddled with
between tempos (it was more fun that way). The cigarbox guitar and lapsteel have two sound types, a
clean(ish) one and an all out fuzz assault – the latter was cranked up so the instrument was feeding back
constantly, which made being in the same room a little challenging even with headphones on! The drones
aren't all just one note – there is some modulation around the key as well as some simple chordings.

Minimal processing was used after the preamp – just a bit of EQ and a touch of compression/limiting to
smooth them out a little more. The MD421 and M201 mics were used with the Laney TT50 valve amp, whilst
the Royer R121 was in front of the Peavey Backstage Plus, a pokey little amp that I love to use, as it beefs
up the low end and smooths out the harsher upper range (small-solidstate-combo-itis). Plenty of spring
reverb was used on both amps. The 'FX' versions use the DI signal, captured alongside the amped
recording, and send it through a chain of digital effects (usually filter, compressor, distortion/amp sim/tape
emulation, EQ, stereo modulation, delay, reverb, another reverb, limiter).

So, if you're bored of the same old pads why not wheel in a knarly guitar drone and see what that does...