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For the files to be sent John these would have been the product of feedback loops so easily created in Audiomulch, self-originating chains of delay and reverb proffering squall at the drop of a hat, reprocessed, slowed/reversed and granulated using the Nebulae and Bubble-blower modules (within Audiomulch). As with the files responding to John's, I tend to layer and make the collage of stems within the AL & Erwin software that comes bundled with Composers Desktop Project. Lastly I tend to take those passes and assemble them in CD Architect.

Whilst I wanted to move away from the sample and 'my way of working', inescapably, of course, what I ended up doing was that what I always do. I am though particularly happy with John's response and for me this at least shows the benefit and interest of our collaboration. Born indeed of many enjoyable lunches, chats and CD swapping.

My hard drive is now littered with countless "Harvey_flatbedspectralblurring1.," etc. and et al files. Between the white noise hash and screams there is sufficient material there for a fuller project which I hope may one day see the light of day...


from Call & Response [ep], released September 9, 2015
Personnel: Dafydd Roberts

Instrumentation: Composers Desktop Project, Sound Shaper, Al & Erwin, Processpack, Audiomulch, Ableton Live 8, and Sony CD Architect 5

Context: Composed sand mastered in Tregaron, Wales, UK, September 2015


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John Harvey Ceredigion, UK

I’m a practitioner and historian of sound art and visual art, and Emeritus Professor of Art at the School of Art, Aberystwyth University, UK. My research field is the sonic and visual culture of religion. I explore the sonic articulations of the Christian religion by engaging visual, textual, and audible sources, theological and cultural ideas, and systemic and audiovisualogical processes. ... more

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