EFFIGY FOR COMMUNICATION IS A SOUND PIECE REFLECTING THE STRUGGLES OF COMMUNICATION IN RELATIONSHIPS AND DISTANCE. THE PROCESS FOR THIS PIECE WAS HAVING A THERAPEUTIC LIKE DISCUSSION WITH MY FRIEND AND FILMMAKER ETIENNE WHO IS ORIGINALLY FROM HONG KONG. WE DISCUSSED AT LENGTH THE STRUGGLES OF COMMUNICATION WITH LONG DISTANT RELATIONSHIPS AND DECIDED TO CREATE AN EFFIGY/LETTER THAT COULD BE READ ALLOWED, RECORDED AND THEN BURNT AS A FORM OF CONCLUSION. I THEN SET UP MULTIPLE PEDALS INCLUDING A REVERB, DELAY AND A DISTORTION UNIT AS THE PRIMARY SOURCE OF SOUND. THE IDEA WAS TO LIVE SCORE THE ANGUISH AND FEELING OF LOSS THAT COMES WITH THE BREAKDOWN OF A RELATIONSHIP WHILE CREATING SPATIALITY AND AMBIENCE TO JUXTAPOSE THOSE EMOTIONS TO REFLECT THE COMPLEXITIES OF THE HUMAN EMOTION SPECTRUM. THE PROCESS WAS TO THEN DECISIVELY GO THROUGH THE LIVE RECORDINGS AND STITCH TOGETHER THE APPROPRIATE ELEMENTS. ON REFLECTION THIS PROCESS WAS A NEW APPROACH FOR ME BY INCLUDING A FRIENDS STORY IN THE MUSIC AND PRODUCTION PROCESS WHICH MADE THE WHOLE CREATION FEEL A LOT MORE ORGANIC AND SPIRITUALLY RICH. THE PROCESS OF LIVE RECORDING WITH THE ANALOGUE EQUIPMENT WAS A SLIGHTLY UNPREDICTABLE PROCESS AS THE MAGNETAR DISTORTION UNIT RELIES ON AN IMPROVISATIONAL APPROACH WHERE TWEAKING AND MODULATING REVEALS ITS POTENTIAL. I THINK OVERALL THE INITIAL IDEA AND ETHOS OF THE TRACK TO THE ACTUAL RECORDING AND PRODUCTION PROCESS WAS REFLECTIVE OF THE TASK GIVEN, INCLUDING TRUE SPOKEN WORD, SPATIALITY IN SOUND AND A SOUND PIECE THAT REFLECTS MY OWN IDEOLOGY IN MUSIC AND SOUND.