Techniques
1) Concretion....
is a multi-delay program.I can build up huge and expansive rhythms.The tape Abrader was mainly done using this fx.It can take up to 20 minutes to create the right sound.I simply layer and layer.I've often (as in Abrader) used the same pattern for all four tracks,creating a phase shifting (as in Steve Reich's work) effect.
2) Environment....
is another multi-delay but highly responsive to taps.I can create a rhythm with three or four taps from a contact mike.It's not an infinite delay and will die if left alone for a couple of minutes.
3) Infinity....
an infinite delay, highly sensitive. For long vocal sounds.Vuls-Credne from How Hollow Heart uses Infinity before moving into an Environment phase..I can become (as Curse Mackey says...) the Mother of transition during a live performance by simply moving from one effect to another.Needs to be carefully nurtured or EEEEEEEEEEEEEEEEEEEEKKKKKKKK.................
4) Metal-guru....
a very loud, distorted and highly sensitive infinite delay.I only use with extreme caution and never live.I've enraged Elaine many times with screaming feedback and sorely tested my Mordaunt-Short bookshelves with this sucker.
5) Branca-repeat...
ahem, sorry Glenn..an infinite soft and easily added to delay that creates, ahem..Branca-like textures..
6) Reich-delay....
what is it with these New York minimalists?A gentle delay that is easy to build upon.
7) Cathedral....
a 20 second delay for long and cathedral like panambience.
8) S-Delay....
a weird pitch shifted soft-delay that I use extensively for vocal work. Check out Godesandah from Shap.
9) Fuckyoudelay....
an even weirder pitch shifted vocal delay,ring modulated.
10) Karloffdelay....
a deeply low end delay for those karloff moments.
11) Bluebottle....
a vocal fx that I also occasionally use for thumb-pianos or guitar preparations,named after Bluebottle from the Goon Show.
12) Mountbaker phaser....
a wildly randomised phase shifter,named after David Mount Baker from Invisible.
13) Cosey-flange...
a muti-tap distorted flange that sounds good with Cosey-esque trumpet work.
14) X-Files....
an ambient effect that I created for remix purposes. Cavernous and scary.
15) Dynamite delay....
a major stereo effect delay that I use for remix work. Quiet and hissfree.
16) Duzz....
a quiet,drone like bell distortion, used extensively in guitar preparations.
17) Buggergate....
an intense gate used for string plucks, rhythms used extensively on Hatfed Maul and Shap by whacking chopsticks onto stringed
instruments.
THEORIES OF EXECUTION :
-excerpted from an E-mail from Kris (Harris) to Mark (Spybey)
"...The really neat difference is that Jazz players have a common set of roadmaps to start from, which in reality is incredibly simple: a four or eight bar head, with a melody, then an unlimited number of bars of blowing, revoicing the 4-5 chords a million different ways, then twice through the head, then out. Take any 4 Jazz guys, from anywhere in the universe, and just say 'Stella', and they'll reproduce a recognizable version of Stella by Starlight. Good displays of chops, but the true creativity happens on a far less tangible level that in our realm, the realm of manipulated improvisation. We're dealing with an infinite number of variables. Jazz guys are working with 12. 13 if you're a sax player. Gaining control of, and focussing infinite options is at a broader pallette, to be sure, but with so many options, the challenge is manifold larger. As an analogy, ANYONE can buy a dictionary, but how many people can assemble a moving sonnet out of SOME of the words in it. If you give the same people a sonnet construction kit, with limitted options, the job becomes a lot easier. "
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