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James Bailey

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  1. Finally released after sitting on a reel of tape for 25 years, this single-piece release uses sound from a Roland JX-3P run through a Time Lag Accumulator set-up.
  2. James Bailey

    Electric Sense


    No, haven't heard of them, but thanks for the heads-up, will try to check it out soon. Yeah, the Zavaloka thing was quite a (re)discovery. It was in a brown paper envelope with some generic sticker on the front. I have no idea how I got it or when, or even if I listened to it whenever that was. Nice glitchy electronics, and a haunting but beautiful voice.
  3. James Bailey

    Electric Sense

    This is my current weekly programme. It's not entirely electronic, and some weeks may not have any at all, but it's part of the name, so has a large representation. Unfortunately, it is only an hour, so longer pieces rarely get heard, but I try to when I can. Everything from classic studio type works to current high-tech wonders, though I tend to steer away from overly beat-driven or "pop" sounding tracks. http://www.ciut.fm/shows-2/music-shows/electric-sense/
  4. This was originally released in 2004 as a run of ten 3" CDs each in a case with the artwork seen here plus notes, and enclosed in a small cloth bag. Another forty or so were made a few years later, until I ran out of bags, which were no longer available. Most were given to friends as presents or exchanges, but a few were actually sold in stores! All of the pieces were created using a tape delay arrangement whereby two open-reel decks are situated side-by-side, with the tape running through the head mechanisms of both machines. The left (feed) deck is used to record an incoming signal whi
  5. Created for the Dec. 30th, 2016 Improv Friday edition of Sound-In (sound-in.org), these pieces were made with a Mini-Moog synthesizer run through a Lexicon LXP-5 multi-effects unit, and recorded onto a Zoom H4n digital recorder.
  6. Sounds like a bag of hammers falling down a long metal staircase, or a drop of rain on your cheek. James Bailey mostly lived in the east end of Toronto, except for four years in England as a wee child. He's been making noises with whatever was available for most of his life, with only a few (failed) attempts at formal training on any sort of "real" instrument. He started recording things after the acquisition of a good-quality open-reel recorder in 1973 (Tandberg 3341X). Most acoustic sound sources are found objects either played as is or modified into something resembling an instrument, thoug
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