Abstract
This article considers the impact of time-based signal processors on the ‘shape’ of alternative rock recordings. The concept of musical ‘shape’ is considered here as both textural and gestural. In this instance, texture pertains to the interaction[s] between the component parts of a multi track recording and gesture relates to application[s] of processing by the recordist. Drawing on examples by The Jesus and Mary Chain, Siouxsie and the Banshees, Mazzy Star and My Bloody Valentine, the impact of time-based signal processors on the ‘shape’ of the recordings is elucidated.
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