I've taken the processes of the last few days in a new direction. I'm using my 20 year old MIDI guitar controller, a Casio DG-20, instead of a real guitar. This allows me to play with new sounds. It also allows more control over the harmonizers. The now track the notes that the guitar is playing, so I can build up much denser clouds of notes. This is all thanks to Pluggo and the Harm-Z plugin from the PeRColate package. 2005-10-19

I've kept the same seup and added a multitap delay at the input. This time, I'm using a pick instead of an EBow. It's sort of a blues in E. 2005-10-18

I really enjoyed playing with the setup from yesterday, so here's another guitar improvisation in a similar vein. 2005-10-17

A guitar improvisation. It's pretty simple, my Strat and EBow played into a couple of harmonized delays and placed in Gasverket thanks to Rayverb. 2005-10-16

This has the same instrumentation as yesterday with a few tweaks. The compositional approach is similar to yesterday's as well, but I'm trying to be more melodic, sparser, but a little more structured. I'm still not quite where I want to be with this type of music, but I'm getting closer. I've been playing around with pieces like this for about 15 years, and I'm still finding them a challenge. 2005-10-15 By the way, this marks the 2/3 point of this project. There have been

This is just an old-fashioned, non-synched looping piece with almost no effects, just a little flanging and a little reverb. Nothing being done here that couldn't have been done in the 70's at one thousand times the price. 2005-10-14

I hate to go back on a promise, but I took yesterday's configuration and ran it through a ring modulator. Not only that, but I even interfered with the process by tweaking the settings of the ring modulator throughout the course of the track. I had fun doing it too - I just don't know what's come over me. 2005-10-13

I used two feedback machines triggered by the the same piano note. Then I convolved both the left and right outputs of the two feedback machines and fed that back into the feedback machines. I then ran that into a resonating multitap delay and then through another multitap delay with analog tape modeling. I stuck the whole thing in a stairwell. 2005-10-12

Lather, rinse, repeat. 2005-10-11

Same setup as yesterday, but I've tweaked all the processors and put the whole mix into the cistern. 2005-10-10

Another self-generating feedback piece. This is all generated by a single note on the piano. There are filtering delays, multitap stereo delays, MIDI delays and arpeggiators, pitch shifters and feedback networks at work here. And it all goes into the acoustic space of Laukyrkan with its standing waves. 2005-10-09

This is the same approach as yesterday, I just switched the source and filter tracks. The result is quite different. 2005-10-08 Also, by doing five of these, I've broken the symmetry with the "Symmetry" series, so this is truly asymmetrical.

I'm finding many different ways to combine these two tracks. This time I'm convolving the two tracks - basically the spectral information from one track controls the frequency information of the other, or as Wikipedia puts it, "In mathematics and in particular, functional analysis, convolution is a mathematical operator which takes two functions f and g and produces a third function that in a sense represents the amount of overlap between f and a reversed and translated vers

I took the output of the last two days and laid them on top of each other out of sync. I'm pleased with the way they work together. 2005-10-06

This is based on the same processes and structures as yesterday with a bit of fiddling and different instruments. 2005-10-05

Getting away from the highly structured approach of the last few days and back to my usual disorder. This is a looping piece, sort of. There are loops, buy they're slightly different each time they show up. There's also lots of simulated tape saturation in this to give it a bit of a 1970's sound. The Wurlitzer on this is a sample, unfortunately. Mine is currently buried in a storage space in S

Exploring further on the same track. I've thinned it out a little bit, having each instrument rest for a few bars determined by a bilaterally symmetrical pattern. 2005-10-03

I added two half-tempo basses to the track. Because they're exactly half tempo, the length is not changed, but they fill out the track quite nicely. 2005-10-02

I think this one shows promise, so I'm going to work on developing it further. I've added another cello and viola, each at 110 bpm and this time playing the melody a fifth higher. It's twice as long too, because the new tempo takes that long to get back in sync. 2005-10-01

This is a phasing piece, but more structured than usual for me. There are two melodies, one played by three cellos, the other by three violas. Each group of instruments plays the same melody several times at three different tempos, 120, 100, and 80 beats per minute. They stop playing at the point when they end the repetitions in sync with the other instruments in their group. All that aside, I think it sound pretty, and there are some nice combinations of pitches here. 2005-