To create the voice treatments and the arctic environment I used a battery of software and hardware devices patched together in many different ways. I spent many many many hours doing this! As mentioned above with the exception of track 4, the treated voice sounds only appear from time to time so, in fact, much of the album is still synthesiser music and electronic sounds with support from supporting sequencer work. The long soundscape track 4 really was created specifically to enjoy and develop the many weird treatments of Julie’s voice. It is a more challenging listen than the other more immediate tracks.
Synthesiser sound textures and the transformation of real world sounds most definitely open up a whole new world of sound experience. This is what sets electronic music aside from other musical forms and, for me, is what makes it so interesting, challenging and rewarding to do. I find it a bit sad that too many commercial synthesisers remain unchanged from their factory settings throughout their life. Yamaha once stated that about 90% of their repairs are to instruments returned in this state; a fairly disturbing fact. The convenience of having a few nice sounds built in for you on a popular synthesiser is all very well but it does tend to lead to a degree of same ness or mundane ness as everyone else is using the same. Where’s the fun in that? Their again, this sad state of affairs does make it easier for me , by experimenting freely, to create something that is unique and a bit different. I do take risks and this may not be popular but I’m definitely not in it for the money. I’m happy if some appreciate and enjoy my efforts and there’s a find a place for it in their music collection .