YES!

Per, what about a foot-cam?...

Thoroughly enjoyed that Per, very nice indeed.

Volume pedals. One for each fretboard. I can wiggle just one or put my foot over both and do the fade-in thing for both sides at once.

But the two pedals double up as "delay loop freezers" as well. This means each of the two pedals target three parameters: (1) Fretboard audio output level, (2) Delay unit Feedback and (3) Delay unit Wet Output Level. Now, #2 and #3 are cross-fading in a scaled manner against the plain Volume Pedal function, #1; Toe-down givs full instrument audio through-put and no Delay Wet signal heard while Heel-down gives no instrument audio but full Delay Feedback and Delay Wet Signal at the same level as the usual sound coming out of that fretboard side.

With this I can take away the string attack to fade in a chord smoothly and if I back off the pedal that chord will be hovering in the sonic space while slowly spinning and tilting over (since I cut some EQ in the Delay's feedback loop). A cool thing is that the bass side fretboard has a Delay Time set to 1/4 note length while the melody side fretboard spins by a 1/2 note triplet, causing interesting poly rhythms to happen if I freeze two chunks of audio from both fretboard sides.

You are correct, a third voice. That's added by a Tap Delay on a half bar delay length coming back through a harmoniser one octave up. Well, if I may be knitty-picky the tap delay actually delivers four slaps and they all go by different delay tap times and harmoniser pitches (using: unison, fourth up, octave up, two octaves up). The longest slap is the 1/2 note so that is what you hear the most of (I take care to not play too many notes either, trying to make room for the melody lines to jump back a half-note later).

Well, I don't view it as an instrument vs electronic orchestration; my approach is to play the whole shebang as my instrument, a meta instrument. I've been using this routing a lot with Alto Flute a few years ago, but the Stick allows me to add a "dual source sound capability" to my meta instrument and still do less looping and more playing.

Took me a while to understand that (as I've played concerts with spy cams on wifi gaffered to the body) but then I came to the conclusion that you must be hinting at imagined "extensive foot tap dancing over control pedals". But I have to say that there isn't much foot-work going on here, just the two expression pedals. Most of the electronic sound design comes from choice of fretboard to play different parts on. The tap delay with cascading harmoniser returns is only applied to the melody side, while on the bass side I have a capo at the first fret for option to use pedal tones by open strings.

There are a lot more details, but it might get boring if I should type in too much tech stuff here. What I myself experience as most important in this piece is the concept of playing with ears and keeping the inner rhythm even when you are playing out and "not right on the beats" (a phenomenon also known as "mistakes").

Per, another magical recording, you coax some beautiful sounds out of your Stick and AxeFX, please keep posting them.

-Marc-

I like the way the chords freed you up a bit for soloing. Big, beautiful sound. Nice work.

I do tend toward dualism, but Per, you got me good with the "shebang" concept. And yes, I hear you playing while listening to your "meta instrument", a bit more like the conductor who months ahead carefully trains his orchestra.

So much mileage in so many directions.

There are folks who push the envelope. But after pushing it, Per stamps it and mails it first class.