A professionally delivered video that looks at incorporating limitations in real-time performance to capture a single reverb effect. The heuristic rationale behind working this way is clearly presented. The quality of the A/V presentation is very high, which makes it a joy to watch and listen. In some ways, the inclusion of some of Brian Eno’s principles of composition would be worth mentioning here, such as his points on equipment limitation in the creative process and the studio as a creative tool. This video, in some ways, highlights the concept of ‘paralysis by choice’ and ‘gear acquisition syndrome’ that many young producers seem to be obsessed with, it demonstrates how to overcome these phenomena by setting in place limitations and capturing real-time performance parameters which in my opinion are the essence of originality. As such, the work fits the symposium theme very well
Thanks for offering a peek inside your compositional process in this level of detail! The video provided a journey of how the recorded effect of reverb went from being an editing headache (restriction) to becoming a defining characteristic (affordance) of the finished piece that ultimately freed you (the composer) from the aesthetic constraints of realistic approaches (restriction). Another interesting restriction that you set up for yourself is to use the recording of a real-time performance without giving yourself the opportunity to go back and re-record certain parts. It is a useful choice that can encourage composers to take a closer look at the affordance of the limited materials in front of them, thus breaking out of default modes of making music.