They both responded well to the absurdity of the piece. Agreed the parts which didn’t work as well were the parts where the time sliding could be heard. One solution to this would be instead of mapping the RTPC to a fader, sending the RTPC random float values from 0-10 and randomly determined times, making it jump. This should be an afternoon’s experiment.

They suggested the piece I showed had elements of the work of Carl Stalling on Warner Bros animations, and subsequently his influence on John Zorn. Recommended reading the John Zorn edited Arcana series. Also Eldritch Priest.

Owen suggested the possibility of seeing what happened when the piece ate its own tail. They were both not terribly excited by the initial sound that was being warped, but wondered about the possibility of taking the output of the existing project and cutting out my favorite sections, then multi-layering them and running them through the project again.

Martin suggested experimenting with running field recordings through the project as well, or even foley. This is an interesting idea and something I’d like to spend an afternoon on. Perhaps a much larger sound world than just music could be constructed, with large and dramatic parameter shifts, but also smaller ones.

Martin also seemed very excited about creating visuals which map with the absurdity of the changes within the audio. I agree this is an exciting proposition, and can imagine absurd visual distortions and RGB splitting. This will take some work, but the ‘added effect’ which this could result in could be very interesting.