“I would split [Harold Budd’s] piano signal into four or five different frequency bands, so everything equivalent to the lower string of a bass guitar would be put onto one track of the tape, then the next frequency band that is equal to the human voice range would be put onto another. I would make up four or five tracks like this, so I could split the sound spectrum up into different regions, and then I would work separately with these regions. Instead of putting echo on the piano as one might normally do, I’d say: ‘OK, on the bottom end of the piano, I’m going to spread that sound out, flange it or put it out of phase, or something. Then with the next band of sound, I’m going to just leave it out completely or put it far back in the mix and over on the righthand side’. I could then maybe put a repeat echo on the third band, and so on.”
“I started to get really atomic about sound and analyse it carefully to see what could be sucked out of it, what could be found within an existing sound and made more of. I wanted to use the studio like a microscope for sound, which is what good engineers do.”
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