For best results, listen on headphones. In this demonstration:
• The audio signal is fed through digital processing software via binaural microphones worn by the drummer. This enables the drummer to influence the mix of acoustic kit instruments to be processed – including the degree of sonic detail and relative strength of the signal as it enters the processing chains – by adjusting their physical proximity to the kit (i.e., head related transfer functions).
• A collection of household ‘foley’ sounds (stored in a granular synthesis engine) are activated by an acoustic MIDI trigger mounted on the kick drum. This offers the possibility of using drum velocity values to trigger looped and often unmetered textures which the drummer can then play in counterpoint with.
• The current ‘soundscape’ of this kit borrows from traditional ‘dub’ processing techniques (echo, feedback, band-pass filters coupled with envelope followers, ‘spring’ reverbs), yet also attempts to infuse each instance of a dub echo with different sonic information, such as discreet ‘foley’ sounds, voices or harmonic ‘augmentations’ generated by a vocoder.
• Gated ‘ghost tracks’ are also revealed through changes in the drummer’s loudness levels. In this demonstration, the ‘ghost track’ is an archival interview recording of early jazz drummer Warren ‘Baby’ Dodds for the Folkways album “Baby Dodds – Talking And Drum Solos” (Folkways Records – FJ 2290, 1951)