Whoa thanks so much guys, this is a real treat!
Your use of reverb on the last few albums has been mind-blowing. Listening to d-sho qub for example, on good headphones, I feel like I'm in a chamber constantly expanding and contracting - totally mental. It's really inspired me to start messing around with weird arrays of comb filters and all-passes in max/msp, modulating delay times to try and toe the lines in between delay and reverb and harmonizer.
So my question - do you do most of your reverb experiments in Max? Are there other hardware/software techniques you like to use these days for lush atmospherics? And how important is the sense of space in your music?
yeah max - and gen now as well is ace for anything feedback related
loads of my reverbs end up sounding nothing like a reverb, but that's why i got into it, cos there's all that grey area as you say, tbh that's one of the most enduring things for me, all the overlaps between physmod and reverbs
was using kyma for it a decade ago, well worth a try if you can get your hands on a capybara cheaply
As a fellow Manc, I find a really distinct synaesthetic connection between the structures and architectures in your work and the atmosphere of Manchester and the Pennines. Would you say your work is connected to the local landscape in that way?
the water as well, the way the air smells
all that grey