I found all my old thOnk experiments on a minidisk, so I made an album. Its noise really… but weirdly good on headphones… if you like that whispering tickling thing… except noisy.
Thanks to Ari Bashan for posting this on my FB. Had totally forgotten.
My second favorite looping guitarist, the amazing EDP expert, Andre la Fosse, has quite un-necessarily cited me at coining the term “unstacking” when referring to an obscure echoplex technique.
It’s not even a technique I use much, more of a side effect of Loop Windowing.
Loop Windowing is where you record a short loop, multiply it longer and add an overdub onto that, now longer loop. You then divide that loop back down to the original (not ness) and hit undo. Instead of peeling off that second layer, as you would expect, it actually starts scanning through the loop in chunks.
So Unstacking is the reverse.
First you record a short loop, then overdub multiple times into it, it gets noisy and full.
THEN you multiply out to multiple lengths of the original loop, then undo.
This has the effect of laying out one after another (as you played them?) all the short overdubs into one quieter loop with only one layer.
Andre produces a bunch of tutorial videos for the EDP.
Here’s the latest about the aforementioned un-stacking (where he also over does his mentions of me.. no need Andre, no need!)
A Modular synth album
This album is recorded over a few years, many modular improvisations, probably intended as bits of a future Electricity album, but never becoming thus.
I have edited and mixed them altogether to make one long playing track. I haven’t deleted errors or bits where things don’t always work, plus you can also hear places where Im tuning up synth modules, or tweaking the sounds before I use it. This is part of using a modular, and are normally not heard on an album, I like those bits, it shows process and give humanity to otherwise electronic sounds.
What about the title? Well it suggests self illumination, the fact that a thing itself can itself reveal some truth about itself, or give light and visibility to other things. I am referring to the above working process, but also my wish to illuminate what Im doing (my self) to the world. A very current need we have, self publishing. Normally these recordings would be private, and be edited out of all recognition, micro-edited, like most (all?) music done on Ableton Live, just sounding perfect, over produced and lacking dynamics.
Anyway, buy it for whatever at bandcamp!
Or you can cheat and just play this… but no, go and buy from bandcamp, than you can put it on your phone and go jogging…
I few years back I posted a horrific graphic by the wonderful informationisbeautiful.net site, hat showed clearly why you shouldn’t use Spotify.
There was a “discussion” in the car now about why we cant have this service in my family.
not saying all the info here is true, but was pleased to find an updated graphic. Here it is!
So conclusion— buy CDs at gigs from the artists themselve (or Bandcamp)
Old friend of the Cranes, Jennie Vee, has released a video with some of my animation in it.
Great song, a collaboration with John Fryer, who coincidentally once engineered a remix by Ivo Watts Russell of a Cranes song.
The animation footage was nicked from an old video for the song inescapable, there’s even a few frames of MY HAND playing the violin in it ha ha.
We first became acquainted with a very young Jennie, when she was to young to get into our gig at Lee’s Palace in Toronto and stood outside the fire exit with her frozen ear to the door.
Well here’s a gig Id totally forgotten! I was obviously enjoying this one alot, judging by the playing Lilies from the audience and pretty much trashing my guitar during Adrift! It always happened that if I loved a show, you can be sure that Jim hated it, as can be proven when Ali says “this is the last song”, Jim can be clearly heard muttering “…ever!”
And heres the “trashing bit” from Adrift… what a fucking guitar hero!
God I miss it…
Here I am demonstrating the time quantising on the Vectr. Recorded live on the night of the Summer Solstice. Not that I care two hoots about that.
Roland D2 (drums) sending midi to Futurelabs Mobius, which is sending clock to Mutable Instruments Grids. 2 channels are sending triggers to a Frequency Central SystemX ADSR and a Frac rack Paia ADSR. A Doepfer A110 VCO and a Blacet F350 Morphing terranium have their pitch affected by the X and Y outs from Vectr, which is synched via its REC in socket to a Deopfer Clock Divider, which is receiving clock from Mobius.
The out from the A110 is going thru a Frequency Central Raging Bull Filter/VCA, which is modulated by the aforementioned SysX ADSR. That out is sent to desk. The F350 out is going through the PAIA ADSR and sent to desk. One more thing, the Morph X input of the F350 is receiving stepped voltages from the very wonderful Blacet Binary Zone, that is also clocked from Mobius.
Pretty simple really…