Dub Let It Pass Me By

Tonight I'm doing a lounge performance. I'm playing on a bill with Danbert Nobacon of the Chumbawamba collective. It should be a good night, video forthcoming.
One of the songs I play is "Don't Let It Pass Me By" which is about a bus, tattoos, zombies, and sports. I originally recorded it with a trombone chorus on the tape in the foreground. Tonight I will play my current favorite version. Then I was messing with timing and came across this version here:




You can hear where the delay happens at the beginning, with a slight Eb oscillation in the other delay popping in between with the FdbK headset.
At around 2 minutes, I start arpeggiating up triads at 2/3rds the speed of the delay so it ends up arpeggiating down the triad three to a delay time.
For example, say delay time has a length of 3dt. If I play Ab at 1dt, C at 3dt, and Eb at 5dt (which is equivalent to 2dtmod3).
starting at 2dt, we then have Eb, C, Ab, which is the Ab, C, Eb triad in the other direction, but twice as fast. Hard to sing to, I must say, since each phrase kicks in on the third beat of me playing the triad. It's so hard to wait! More timing tricks forthcoming, but more mindbending. I think tempos at 5/8ths of the delay time is involved, we'll have to see when I get a chance.

If YOU get a chance, come see Charmaine's Names tonight at the Greenline. Don't be a baby, it's just West Philly, baby!

Feel better Zach! Here's some Bower Aide.

   Recorded quiet for a reason I'll investigate later. More importantly, is a song I wrote for FeedbacK headset.



   In grade school I wanted to be in a band called "FeedbacK" because it was my favorite sound and it had "db" in the middle, which is a nice possibly symmetrical way to write the first <=> ( ) or inner <=> [ ] intials of my name, (D)avi[d] [(B)]yrne

   In reality, it's what I call this headset whose mic and speaker signals are sent to opposite ends of my pedals, feedback at a pitch with harmonics in A, I think.

   The pitch of that feedback is adjusted by the tone setting on the Fuzz, the frequency of the delay, the endurance of the delay times, distortion/fuzz being on or off, the variations in tremolo at a specific depth, and an octave down pitch shifter that kicks in early on, after a chorus effect helps sweep the pitch in the intro.

Welcome to my Basement

This is a somewhat usual setup. I have multiple inputs going through a DD-7 digital delay, a FZ-3 Fuzz, ME-30 Multi Effects pedal (the one I'm hitting the most in this video), DD-6 Digital delay, and Pulsar Tremolo.
The inputs are a microphone, which is only adding flavor in this piece; a "FeedbacK headset" which is just this earphone/microphone jawn that I spliced the signal of, so the mic is feeding into the pedals through the "Right" channel of the mixer (so I can turn it on and off by switching the mixer from mono to stereo), and the earphones are sourced from the tremolo's second outplug; and a radio on a string.
The main tones in this piece are coming from cranking the feedback of the delay at a high speed so it generates analog electronic tones, much like how a synth operates. By analog, I mean it is creating a real pitch by sending a signal at the frequency of audible sound. Admittedly, at the end of this video, the sound is lower than the recording microphone could pick up. But you can feel it, can't you? It's there, affecting the other pitches.
This is what I do whenever I can, look at me!