Experimental Audio Research: Difference between revisions
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Martinwguy (talk | contribs) Created page with "In 2000 and 2001 Delia collaborated with Sonic Boom's Experimental Audio Research in Rugby. She was advisor/co-producer to Sonic Boom on the LPs ''Vibrations'' and ''..." |
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She was advisor/co-producer to [[Sonic Boom]] on the LPs ''Vibrations'' and ''Continuum''<ref>“... by long nightly phone calls 5 nights a week and visits to Rugby every Weds or Thurs on her 'private train', having realised that some trains went from Rugby to Northampton which were just returning and not scheduled.” -Sonic Boom, personal communication</ref> | She was advisor/co-producer to [[Sonic Boom]] on the LPs ''Vibrations'' and ''Continuum''<ref>“... by long nightly phone calls 5 nights a week and visits to Rugby every Weds or Thurs on her 'private train', having realised that some trains went from Rugby to Northampton which were just returning and not scheduled.” -Sonic Boom, personal communication</ref> | ||
and went on to create the track ''[[Synchrondipity Machine]]'', which was to be her last. | and went on to create the track ''[[Synchrondipity Machine]]'', which was to be her last published work. | ||
=References= | =References= | ||
Latest revision as of 17:47, 29 February 2016
In 2000 and 2001 Delia collaborated with Sonic Boom's Experimental Audio Research in Rugby.
She was advisor/co-producer to Sonic Boom on the LPs Vibrations and Continuum[1] and went on to create the track Synchrondipity Machine, which was to be her last published work.
References
- ↑ “... by long nightly phone calls 5 nights a week and visits to Rugby every Weds or Thurs on her 'private train', having realised that some trains went from Rugby to Northampton which were just returning and not scheduled.” -Sonic Boom, personal communication
