Sound designers, musicians, producers and engineers are all familiar with manipulating sound through the use of audio processing. Most examples of processing, like filters, reverbs, and delays produce a relatively predictable result. I’m interested in processing that has an unpredictable result. For example, the octave pedal that purrs like a robotic kitten when you feed it harmonic input, that I wrote about in Octave Pedal Rhodes. I have a similar interest in producing sound directly from visual media with tools like Michel Rouzic’s Photosounder, which I used for Conversion of Graffiti into Sound.
One of the first things I tried to do with Photosounder was to capture the image it creates from imported audio in order to use an image editing application as an audio processor. This didn’t work very well because much of the resolution was lost with the screen grab. Since then, Michel has added a feature to export full resolution spectral images of sound. This makes the concept of using a Photoshop filter as an audio processor possible.
To test this concept I created a simple pattern with an electric piano patch and opened it in Photosounder. Without changing any settings I immediately saved the sound as a bitmap image. Next I opened the image in Photoshop and started experimenting with filters. Once I had some filtered images I loaded them back into Photosounder to see how they sounded. Gaussian blur and Liquefy created some unique effects, but my favorite of the bunch was Glowing Edges. This filter seems to transform the electric piano into a haunting choral passage.
Original Electric Piano Pattern
Glowing Edges Electric Piano Pattern
While working in the studio recently I plugged in a cable from an auxiliary send to record some bass and got some horrible feedback. So horrible that I was determined to record it. The reason I was getting the feedback was because the same send that I was using to record the bass happened to be turned up on the channel that I was using to monitor the signal. I realized this immediately, but the sound was quite interesting due to the subtle latency on the signal path caused by the digital hardware involved. Here’s a couple of layers of the feedback running through reverb. I also made adjustments to the pitch a time stretched the recording in a few places.
I recently recorded a few passages of clavinet on a piece I’ve been working on for a while. My Hohner E7 is still in disrepair, so I had to rely on a sampled version of the instrument. I processed the sampled version in a similar way to how I would have processed the real thing. 
While sorting through dusty clips from live performances I came across an angular Rhodes line that sounded quite odd removed from the context of the original set. 
I came across this sample from a performance on July 13, 2006. It is a delayed synthesizer line that I played and captured as a clip in Ableton Live during the show. What’s interesting to me about this clip is the obvious modulation in pitch on the delay trails. This is not something that I programmed into the patch and I suspect is actually caused by a bug in the Korg MS2000. It’s possible to recreate this bug by enabling tempo delay then sending external sync to the instrument. I rarely experience this glitch anymore because rather than using the delay on the Korg, I usually run it through tempo delay in the software. However, I kind of like the ghostly quality it creates in this short passage.