A Cover of Heroin by Lou Reed that I recorded on the fly, without even tuning up, just for fun to test my levels with one microphone for both the guitar and vocals. it was just meant to be a practice run, but then one day it came on as I was listening I thought it was a an actual live version of Lou Reed. Didn't realize that it was playing my "practice" version. After I realized that, I also realized I kind of liked my quick on the fly version-so here it is.. for howeverly bad- it is good.

Heroin for Lou (Reed Cover)

Had a dream that I met Laura Palmer then I woke up and recorded this. The Beat is from my Yamaha synth, guitar is a Dean Del Sol through a Line 6 modeler with the tone and volume rolled back.  reverb on and recorded live on the same track.

Stoned Blue

Laura Palmer  Dreams

new track inspired by severe weather patterns and the rolling thunder of a late summer evening. guitar and bass both ran through a 75W 1/10 line 6 modeler with delay and reverb.

Summer Derecho

1 of 3 different tracks I made with similar settings in the dark to moving digital art. This is my analog mono synth on random holding the weird untimely bass pattern, drum machines slowed down to about 70 bpm on a blues rhythm and some long guitar runs. Playing a Squire Paranormal Toronado ran through a Caline M-classic fuzz into a JOYO atmosphere pedal (which is a reverb pedal that really does so much more-still shocked at how versatile..  echos, choruses, weird reverbs, this thing is like a synth in a pedal) amp is a Line ^ Spider II modeling amp 1-75W {think what you will but I love line 6 and their products from this era}  all recorded on the same track. 10 minutes of psychedelic sounds.  .I am working on finding the sweet spot for recording in one take. Microphone placement is tricky with live recording. You have to mix the levels of each device very well so that the live mix sounds perfect and then put the mic in the best spot to pick up each device equally. most important. I've found a sweet spot to pick up the guitar, drum machines, synth and bass, all in one go while maintaining the volume and timbre on each, but I wish I had some more hands.

N I G H T spider

Stacy Sutherland describes a mystic vision he had during an acid trip while on stage when he was part of the band the 13th Floor Elevators. Stacy played lead guitar in the band. The  Original interview is from May of 1977. He eerily predicts his death at the end. Stacy died at his home in Center Point, Texas, after being accidentally shot by his wife during a domestic dispute a few months after this interview. I recorded this audio from the interview and dubbed it over an analogue synth track that I had been working on with an arpeggiated sequence on up/down and ran that through a JOYO atmosphere…it somehow fit very well and even cut off right where he talks about his third insight. If you've never heard of Roky Erickson and The 13th Floor Elevators I suggest you educate yourself. The founders and originators of psychedelic rock. I felt I needed to put this out there and the process of creating this piece was oddly organic and familiar yet strange in a way, it made itself... either way, enjoy.

STONED BLUE

Mystic Visions with Stacy Sutherland of the 13th Floor Elevators...

I recorded this with two condenser mics. First one is mainly capturing the analog drum machine. The other is for my synth and guitar. Microphones are about a foot away from my PA and guitar amp, picking up live track creation. No pedals on the synth this go- just a single note on hold with some modulation, guitar here is my current daily player- Paranmoral Toronado being ran through a Caline High Chief dual channel OD Im mainly using this as a boost here with just a touch of drive then into the sonicake multi modulation THEN into my line 6 which I added the on board reverb, chorus, and sweep echo. So just a ton of modulation on a slightly overdriven hum-bucker guitar that is creating the sonic anomalies here.

Shoegaze Through my Window

Not sure I remember how I layered the sounds here. Definitely using my Yamaha digital synth on an electric organ patch and my MiniBrute analog, and perhaps a plug in as well.  I don't think there are any effects pedals on this. Just one man playing and recording 3 different types of synth.

Into the Sea

vintage analog mono synth, slightly distorted guitar ran through a Caline High Chief dual OD into a sonicake tremolo warbler into 75w line 6 spyder on clean setting w/ a Celestion speaker.

Lake Michigan Coven

Careful with the volume on this one. Spittin fire like a dragons pussy. She's recorded loud and heavy.  Multiple live tracks recorded and layered. The first is the drum beat with a rhythm guitar recorded on the same track with two different condensers. second track is vintage analog synth bass, Third is lead guitar fills. Tones on the guitar are coming from a classic fuzz pedal into a dual overdrive blues breaker like circuit. that runs into a line 6 spider 2 modeler 75watts with a celestion speaker on the cleanest setting, reverb is from the on board amp reverb and the hardwood room.  Cheers. All recorded with vintage condenser microphones.

9 roads lead home, save the toads. This was recorded over three days. We have four main tracks. percussion and rhythm guitar on the first, synths on the second and third both using digital string emulations and another guitar on the third panned all the way to the left. Best enjoyed on stereo monitors or headphones or any speaker set with a quality low end to get the full effect and depth. guitar pedal rig is a dual overdrive with only one side engaged pretty much as a boost-volume and tone rolled almost all the way back, into a Vox bucket brigade style delay into a line6 75W with a celestial speaker on clean. All recorded live on 2 condenser microphones. Very much still experimenting with recording quality and panning guitars. Had some difficulty with sound after exporting this track from DAW as every time I sent this from DAW to music it was compressing very badly and lowering the volume and over all quality and then once again when put onto the Soundcloud platform. I believe I figured out a way around this through my download and playback settings, but this version is still very compressed but I believe it captures the essence of what I was going for here.

Protect the Toads

Corpse Driver

12 minutes of heavy psychedelica and Sabbath inspired doom. This is often how my practice sessions sound. A theme or riff meditated upon through repitition the change will discover itself. There's some tinkering in the beginning as sounds get dialed in.  All instrumentations written and recorded live in my living space. This is all recorded on one track with two condenser mics. The guitar mic'd separately from the bass, drums, and synth which are all being ran through my kustom PA, which is live mic'd for recording so if the rhythm is a bit muddy that is why. No overdubs here. Just a slow and steady groove. Guitar here is a Squire Paranormal Toronado> Caline m-fuzz> >Caline HighChief dual overdrive with both sides engaged. Fuzz controls are set to pretty much the lowest settings distortion is mainly coming from high chief while the fuzz pedal is mainly providing sustain and feedback. I believe I also have a Vox delay at the end of the signal here but with very short trails and also another secret effect that I will not reveal maybe you can tell what it is?

Sabbar

Here we have an all synth sound design project. First I created a backbeat with my analog drum synth, next I have the filter on my MiniBrute creating the whooshing and breathing like sound. Lastly I have my Yamaha prs on a Rhodes tone emulator  being run through a rotary effect and an analog delay, all this was being created and recorded live with a vintage condenser mic.

Skuba

On this track I am playing and recording live- three analog synthesizer machines. First Im using my analog drum synth to create a simple tribal backbeat. Next I have my Yamaha prs on string emulator with a tremolo effect and an analog delay to create the drone sound. Finally Im using the filter on my MiniBrute to create the pulsating secondary drone sound that harmonizes but I also adjust into making the high pitched squelches and screams.

A Tribe Called Death

A new one with the new guild electric! I recorded two different guitar parts on this. both are a combination of rhythm and lead lines. My Signal Chain is the same, except one guitar part is recorded with a bassier tone- running classic fuzz into dual OD into tremolo and delay. This is a blues kinda jam Ive been working with for awhile. It has a section where the beat breaks down in the middle and the mono synth creeps in -that I just love. To make this first I created a drum beat on my drum synth, then I made an analog synth bass line, I did all of this live while playing guitar and recording the first track. The second track is all guitar fills. A third track added here for atmospheric synth sounds.  Once again Soundcloud is compressing this file into trash but I did my best to get a clear loud version. They should really do something about the upload quality. As usual best enjoyed in stereo sound or with headphones.

Satan Said Play The Blues

Fuzzy Baby

Breathing Eyes is an experimental recording project created by Cal Beverly who is a multi-disciplinary artist based in Chicago IL. The sounds here are pure psychedelic eclecticism ranging from ambient cinematic soundscapes to shoegaze and pounding psychedelic blues rock.  The driving sounds are created by guitar and synthesizer. All sound, songs, and music is created and recorded live at volume using amplified instruments and condenser microphones. There is a lot of material here spanning some years of writing and playing, ive just been releasing tracks as I create them often with my own photos or artwork. Please take some time to listen to a few, let em flow together. 
Any feedback, questions, comments etc are greatly encouraged.

anyoneforanother@yahoo.com
calrunstheblock on insta.

Breathing Eyes

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