Yeah, I've done all of these composing jams with a 24 hour limit to sort of challenge myself. I'll usually take a day off from everything, spend the day before setting up everything in my studio so when I wake up I can just get right to composing, and then kinda just start going.
Each track gets recorded back to back and I try to mix as I do, or do as much mixing as possible. This session was especially fun because it let me just run analog synths through obnoxiously wide reverbs and then swap cables and run guitars / pickup'd stringed instruments through those same pedals.
Every track here uses feedback from a smaller amp, I didn't finish listing my equipment but I ran the strings (guitar, violin, ect) through a Fender Ultimate Chrous, and faced that into a Fender Champion 100 with just it's preset Delay and Reverb, both amps on the clean channel, both EQ'd with the Para-EQ, the Ultimate Chorus the classic original Para-EQ Empress, and the Champ-100 ran through a clone called the Para-Q Nano made by Sine Effects I believe?
Being able to EQ feedback and utilize it to create pads is something I've wanted to do for a long time and felt like it fit perfectly in a project like this.
I guess I started to ramble, but my point was that I spent 24 hours live recording guitar feedback. Each feedback is 4/4 at 80bpm which let me experiment with double time melodies when I wanted too, and even tempo change from 4/4, to 2/2, and even to 3/4.
It's cool, I guess. How I end up abusing these projects to just demonstrate how wild composing music in a traditional yet modernized mindset can be. Is recording feedback and filtering it with analog synths composing? I think so. But I was more than glad to throw some cool stringed instruments into the mix! Especially since it meant I could finally just play some scales on my Samiko Mini, lol.