Some material was originally generated by my acoustic modelling synthesiser was recorded some time ago on analogue tape but I’m glad I didn’t have edit this album with a tape splicing block and razor blade! Sound processing was done both digitally, using a wide range of processing devices, and analogue using tape and my modular synthesiser..
The sound processing in parts is unusual, playing around with changes in the stereo width movement, the phase and distance to some of the material. There are places when it quickly goes from almost mono, or mono distant, to a claimed “wider than the speakers” like a partial surround panorama. The sound’s phase alteration even attempts to cause a sound be at the back of or in your head. If you sit in front of the speakers in the traditional recommended triangle formation with left and right equidistant from your ears the idea is that you should, at least, get some kind of strange weird effect when they appear. To be honest I’ve found these effects are dependant on the sound system, speaker positions, the room and the listener. The speakers certainly shouldn’t be too far apart or too far away. The opening rise and fall phrase of track one before the first drum beat is a good section to demo any weird effect. Volume should be at a comfortable level but not loud in order to get the full dynamic of the following drum entry, which exploits the full largely forgotten range of CD or FLAC format with no compressor used. If you get anything strange, great, if not, not to worry. There are quite a few different spatial effects which appear from time to time throughout the album but notably in tracks 1, 2, 5 and 6.