Where did that concept come from for you – what kind of an instrument is a studio? Is it a musical instrument, a scientific instrument, an instrument for performance? TG: Yes, I was going to ask about this – in the article you write that this work was informed by the studio as instrument concept. I’m not prepared for this kind of question!. I mean, ‘studio as instrument’ is a concept that people kick around so often – you really listen to any pop music in the 1960s and 1970s and you can hear the studio entering into the music. At times it’s more forceful, at times not even in very early Les Paul songs you can hear things that could only happen in the studio, like double speed guitar. These are the types of sounds that caught my ears early on in my experience of listening. So I was certainly aware of this general concept of ‘studio as instrument’ for most of my life. Once you get in the studio – in this case a multitrack analogue studio – if you have any interest in those sounds at all, you feel like playing with effects. And in that particular time, effects are fairly well developed, and most of them had MIDI control. It was at a point where things were just evolving beyond the modular synthesis of the 1970s, so many of the effects we used still had voltage control inputs as well as MIDI. And the nice thing about those early MIDI effects is that often a lot of parameters were mapped directly to MIDI inputs, so we were modulating a lot of things via computer-generated MIDI.
This is commonplace now, but then it was just being tried out.
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