My first method of transportation was cycling to a meeting at my work in downtown Minneapolis. After cycling home and packing for my trip I walked to the bus stop, caught a bus to the light rail and took that to the Hubert H. Humphrey airport. I walked, took an elevator and an escalator to get to the terminal. After meeting my wife, we took at plane to Seattle and used the moving walkway to get to the bag claim area where her parents picked us up and drove us to their home in Gig Harbor, Washington. So the complete list is cycling, walking, bus, rail, elevator, escalator, plane, moving walkway, and automobile.
Here’s a compilation of excerpts from six of the methods of transportation that I managed to get the recorder out in time to capture. The sequence is bus, rail, walking, elevator, airplane (take off and landing), and automobile. I hastily transitioned them all together with cross fades in Audacity on my mother-in-law’s PC because I foolishly decided to leave my laptop at home. Thanks, Julie!
Six Forms of Transportation
Here’s a rough mix of a track that I’m working on for an upcoming album of material that I’ve been producing since August, 2008. I have committed to a release date of March 24, 2009 on 
A variation of this clip is probably going to end up in a new track that Nils Westdal and I are working on. After a recent session Nils left his Boss OC-1 pedal in the studio for me to mess around with. The first thing I did was plug the Rhodes into it. The cool thing about the OC-1 is that if you play intervals into it it gets confused and randomly switches between notes. The results are unpredictable, but it’s also possible to get consistently unpredictable results. I know it sounds like an oxymoron, but duplicating certain intervals at specific dynamics allows you to mold the output into something usable. This is what I was going for in this example. I edited the recording to a suitable length, added some delay, and then automated a filter to manipulate the texture.
I time stretched this recording of my dog Tia barking on the PCM-D50 using the built in DPC or Digital Pitch Control. I don’t know why they call it pitch control when it doesn’t change the pitch, but rather time compresses or expands the audio by percentages, from -75% to +100%. The intent is for musicians to practice difficult passages, but I think it has a nice eerie, metallic effect on voice and other sounds. For comparison I’ve posted her barking with out the time expansion as well.