After some days of deliberation and brainstorming, this collection of instruments proved to be most applicable for the creation of my final sound submission. With the use of multi effects, no input mixing, and granular effects processing at the end of the chain, I was able to create a sea of sound that could be tamed through live editing through logic and tweaking on the fly. As with most of my ideas, it sonically and physically takes shape as a collage, but always beginning as a piece of physical art. I created a collage that reflected a multitude of situations and emotions with an array of different colours and tones. The act of collaging can free the mind of any preconceived overthinking and editing which helps the process.
Then as a point of source material, including Braxtons language of music direction I will proceed to record for a few hours to create a sense of autonomy or something with generative qualities to then later decipher at the editing stage.
The combination of giant reverbs combined with overdrive and delay tends to create a more melancholic, abrasive texture which I believe reflects my character as a visual and sonic artist. There’s a fluidity to its effect on synthesis which gives much more space for new ideas and pleasant accidents.