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DISTORTED
REALITY
introduction
I have always loved distortion.
My first experience with the otherworldly glories of fuzz came when,
as a boy, I cut off my toy organ's 9 volt wall wart and connected
the cord directly into the 120 volt socket. I was trying to figure
out how to make it louder and it seemed logical that if it was not
so loud at 9 volts, then 120 volts should be slamming. For a brief
moment prior to the explosion, the most wonderful shriek of torturous
cacophony emerged from my tiny Wurlitzer. And so my fuzz journey
began, leading me many years later to create this disc for your
enjoyment. I mention this story as an explanation to those who seem
surprised about this seemingly unorthodox direction from me. When
I played a preview of this library to our German distributor, he
had a difficult time believing that I had made such intense noises
("You don't look like you made these sounds!"). Maybe
it's time for that nose ring.....
A good friend of mine views my photography upside down to look for
alternate universes. He can sometimes find remarkable, other-worldly
landscapes in photos of ordinary objects. That's exactly the concept
that fueled our direction, but from a sonic viewpoint.
The inspiration for creating this library came out of the well-known
fact that a great deal of the potential of electronic instruments
goes untapped. By exploring some of the more eccentric signal paths
and extreme processing techniques, it is possible to create a vast
array of extraordinarily bizarre & beautiful sounds, if you
have the time and patience for it. However, in today's studio atmosphere
there is rarely the time to explore these intriguing possibilities.
Fortunately, the sampler has become the ideal tool for accessing,
manipulating and composing with these sonic adventures. Ryeland
and I had tremendous fun putting this one together, and I hope it
awakens your experimental side.
Enjoy!
Eric Persing
When Eric came to me with the idea of an "anything goes"
library, I was tremendously excited; as many people know I'm an
"anything goes" kinda guy... So I put on my most colourful
outfit and set to work... These sounds usually started out quite
humbly, but ten patch cords later they were mangled beyond recognition,
and that was just the beginning! Once I gave the samples to Eric,
he would re-process, re-loop, and "Loop2-P." Then I would
get a DAT of those mangles, and I would set back to work on them...And
so on, ad infinitum. At one point I thought we should have a contest
to see which sound could be thrown back and forth between us the
most times!
One great example of this technique is in the Cyber Toys Volume.
In 1990, I was working with some gents and one of them brought a
tape with some weird sounds on it; I sampled them into my EPS. (not
quite the lowest of lo-fi, but....vibey enough..) A year later I
get an EPS-16, the sound naturally transfers to this "bumped-up"
format plus internal effects. Wow! Jump to 1995, I'm searching through
old sounds and there's this weird violin gliss and rhythmic "boom",
I pop it through some crazy reverb and lay it to DAT. Eric gets
a hold of it, inputs it into the 760, and then sends it through
the K2000 "wacky filter" or whatever it's called, and
voilà! Cyber-Alarm and all the rest. Now, we do have lives,
I assure you, we also love to tweak...
From me and my camp at Sunshine Studios USA, aloha and good tidings,
I hope you enjoy our sounds and put them to good use... May they
inspire you to create great music...
Best Wishes,
Ryeland Allison
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