Glitch Art Dot Com

I recently had the good fortune of trading in the endless doom and gloom of another winter in Portland for a little taste of that smog-drenched LA sunshine I hear so much about.  Moog‘s House of Electronicus was a designed to be an alternative space to all the NAMM hub-bub and a chance for Moog to debut it’s incredible little DFAM drum machine (amongst other things… my lips are sealed).   Electronicus was situated smack dab in the middle of Echo Park (which was lovely by the way) and hosted a number of performances, workshops (from the good people at Portland’s S1 synth library) and Moog-fueled art installations.

Theremini Visions was an installation based around Moog’s new theremin, the Theremini.  While I was admittedly giving this thing a hard time for adding a T-Pain auto-tune mode the sound set is quite nice and the on-screen display has a number of cool practice aids.  The Theremini also has onboard CV out (with voltage scaling options) unlike it’s lovable predecessor, the Etherwave (which required a 100USD CV expansion board).  Utilizing the CV generated by playing the theremin I routed the output in to a little LZX travel rig I assembled for the occasion (thanks for the last minute help Perfect Circuit).  From LZX Bridge CV was fed to a number of parameters to keep things interesting & fluid.  I had hoped to setup some more intense envelope following actions but simplicity won out in the end.  Video from two LZX Visual Cortex modules wound it’s way through a series of BPMC Premium Cables, Basic Cables and Fluxus glitch video fx processors before arriving at their target CRT stacks.  A big shout out to Joey with Purdy Lites for hooking up the CRT delivery!  Another big shout out to Evan Shamoon for an assortment of PVMs and last-minute converters.

Subsequent 37 dreams was an installation that invited users to crawl into bed, get comfy, toss on headphones and slide Moog’s Sub37 synthesizer over them for bedtime synth noodlings.  An array of Subpac tacticle bass systems lined the mattress effectively shaking the bed with every note played.  For further sensory stimulation video by Charles Goldberg was processed & projected by the Pauper Palace edition of the BPMC SFX-M Glitchmix with audio reactivity from the original Fluxus glitch video processor.  The wooden synth-slider bed contraption (that delighted so many) was cooked up by North Carolinan sculptor Richard Goldberg.

It was a blast working with Moog on this project.  Much love to Charles for bringing me in.  A big thank you to Ian for tech-ing the installation in my absence.  Thanks to all who experienced the MOOG HOUSE OF ELECTRONICUSSSSSSSSSSSS.

It’s summer twenty seventeen and BPMC users have been busy mangling video in a variety of beautiful & creative ways. If you enjoy the work below I encourage you to dig deeper for more from the artists. Chances are it’s hot stuff! As always I love seeing what you folks do with all these broken machines I keep tossing into the mail. Keep up the good work, I salute you and remember to send your completed works my way! Happy summer!

Japanese Dream Pools 儀式 (Ritual) by Night Diver
Video by  Brian Callaghan

Skinny Legs – Elohim
Video by Chase Black

Polygon -『Indigo』
Video by Arthur Demeure

Currency – The Black Angels (Visualizer)
Video by Bob Mustachio

Meeca – BEZVĚDOMÍ (prod. Donie Darko)
Video by Arthur Demeure

A Place To Bury Strangers – Straight
Video by Brook Linder

Boogarins – Lá Vem a Morte (Album Visualizer)
Video by Rollinos

Khalil – Níngjìng
Video by George Kountouras

Distorting Louïs
Video by Saou Tanaka

Video by Gabriel Edvy Aka Blackswitch Labs

In anticipation of Martha Daghlian’s “La MoDe: experimental personal uniforms collection” exhibition at Impossible Box Arts (in Portland, OR on thursday May 4th 2017) we are highlighting a number of glitch-camera based works exclusive to the web.  Martha Daghlian’s show incorporates photographs taken with a BPMC modified 4 megapixel digital camera in a series of conceptual fashions and digital prints.  It’s definitely a show worth checking out.

“La MoDe is a new collection of experimental fashion concepts by intuitive apparel artist Martha Daghlian. The photographs and garments on display at Impossible Box are personal uniforms, amateur couture, and/or multiverse chic. The artist’s self-portrait photos have been processed through secret special effects engineered by Drew McIntyre of BPMC; the results represent theoretical textile prints for the La MoDe collection.  A limited run of prototype uniforms, created in collaboration with Ben Houston of Tellurian Fieldwear, is displayed in La MoDe signature printed twill with official-looking shiny embellishments.”

Only a couple of days left to get in on the crowd-funded madness.  Arius Blaze of Folktek has been hard at work for two years now dialing in the revolutionary new Mescaline synthesizer.  It’s hard to pin the Mescaline down and call it any one thing, but that has always been the joy of Arius’s work (who’s reign of sonic terror is closing in on two decades).  It’s a tonal synth, it’s a drum synth, it’s a sequencer, it’s an effects processor, it’s a customizable sound design platform…… and finally, it’s on sale.  Show some early-bird support and get one now for a fraction of the list price via the Indiegogo campaign.

You’ve got a couple of options now when it comes to picking out a BPMC glitch video mixer. With the recent addition of the modified Edirol V4 you’ve now got four designs to choose from. They each have various strengths and hold different advantages over one another so it can be a rather tough choice…. choosing one that is.  For me what it ultimately comes down to is the mod aesthetics however it’s nice to know a device’s strengths and weaknesses before you commit.  I thought I’d take a minute or two to outline the primary differences and give you my personal opinion on each mixer and it’s modifications.

Glitchmix SFX-M.

Price: $480 USD
In production: Mid 90’s
Channels: 2
TBC: Full Frame Synchronizers.
Monitor Outs: 2
Video Outs: 2
Superimpose Layer: None
Wipe/Mix: Yes
Key Functionality: Yes, as channel FX.
Titler Add-on: No
NTSC/PAL switchable: NTSC only (via BPMC).

Mixer Feedback Rating: 6/10
Durability Rating: 5/10
Projector Friendliness: 10/10
TBC Dropout: I have not run in to any instances where this thing dropped out on me.
TBC Flavor: Pretty true to the original circuit bent FX.  Do the effects you throw at it look the same as on a CRT?  No, definitely not… but I find that this mixer is as good as it gets.

Audio Reactivity: No
CV Reactivity: No

Mixer Strengths:
Has awesome onboard FX (including chroma/luma!!!!).
Has unique wipe shaping abilities.
Has a wide edge feather on the wipe.

Mixer Limitations:
You can only use one effects bank at a time.
No divisional wipe settings.
The channels are naturally a little dirty.

Modifications:
Six glitch ports per channel.  Mix and match ports with patch cables.
While minimal this offers you an interesting assortment of illustrative looks and digital corruptions.
Glitch FX also work great in combination with mixer feedback.

Final take:  This mixer has some serious lofi charm.  I understand why Sima felt the need to offer the world the SFX9.  The SFX-M is internally very dated for it’s 1995 manufacturer’s date.  But that’s where the charm comes in.    The channels (pre-modification) are gritty… the faders are coarse and the overall feel of this thing is unusually analog for a mid-90s era mixer.  It has a nice assortment of onboard effects that blow the AVE5 and even the Videonics MX1 out of the park.  It would have been nice if they tossed a wipe division button on here as you run low on different wipe shapes pretty quick.  Despite my critiques of this unit I feel like everyone should have an SFX-M modified or unmodified in their arsenal for the gritty charm it brings to your palette.

Glitchmix AVE5.

Price: $680USD
In production: 1990’s
Channels: 2
TBC: Yes
Monitor Outs: 2
Video Outs: 2
Superimpose Layer: Yes
Wipe/Mix: Yes
Key Functionality: No
Titler Add-on: Yes
NTSC/PAL switchable: NTSC Only (via BPMC)

Mixer Feedback Rating: 8/10
Durability Rating: 6/10
Projector Friendliness: 10/10
TBC Dropout:  Never gotten it to dropout
TBC Flavor: Digital, draggy, not true to the original FX but still very cool.

Audio Reactivity: Yes
CV Reactivity: See AVE5 CV

Mixer Strengths:
This is my favorite sub-v4 mixer for goopy blobby classic video feedback.
The AVE5 has a decent number of wipe patterns.
The superimpose feature is handy for quickly keying in the optional titler.

Mixer Limitations:
Limited on-board effects. No negative or luma.

Modifications:
Newest revision boasts 5 touch corruptions per channel, 5 corruption knobs per channel, 1 cv input per channel and 3 magnetic patch fx per channel.  Yow!

Final Take:  A video jazz standard.  The AVE5 is a bare bones and reliable mixer in it’s unmodified form.  In it’s modified form dare I say it’s a completely different machine?!?  This was my go-to mixer for video feedback and live TBC flavors for years.  While limited in it’s onboard effects and bells n’ whistles it is terrific as a glitch video production centerpiece.  I also love the ability to take on and power up the proprietary AVE series titler (via the bottom front port).

Glitchmix SFX9/10

Price: $740USD
Channels: 2
TBC: Yes
Monitor Outs: 2
Video Outs: 2
Superimpose Layer: No
Wipe/Mix: Yes
Key Functionality: Yes as a mix mode.
Titler Add-on: No
NTSC/PAL Switchable: Yes

Mixer Feedback Rating: 3/10
Durability Rating: 7/10
Projector Friendliness: 10/10
TBC Dropout: I’ve only experienced mild dropout with some of the harder analog glitch FX.
TBC Flavor: Laggy with some looks but pretty clean for the most part.

Audio Reactivity: No
CV Reactivity: No

Mixer Strengths:
Mixable luma/chroma blends are super sweet.
Incredible wipe options.
Extremely clean signal
Easy NTSC/PAL switchability.
Sweet multi Picture in Picture modes

Mixer Limitations:
The mixer feedback is garbage without throwing an effects processor in between or something in the feedback chain.
TBC flavor can be a little stiff at times.

Modifications:
A number of patchable FX buffer corruptions per each channel.
A series of wipe corruption effects
LED pushbutton based corruption effects.

Final take:  The number one church mixer on the planet!!  And it’s still in production strangely.  I wish I could take over licensing for this thing…. would be a blast to hard wire some mods on the next production run.  This has pretty much everything you can ask for in a basic hardware mixer…. luma mix, all sorts of wipe shapes, the run of the mill onbaord effects, monitor outs for duplicating channels, and a reasonably agreeable TBC.  The mixer feedback, while not so hot on it’s own, does indeed stand to greatly benefit from throwing either a Fluxus or Premium Cable in the feedback loop.

Glitchmix V4

Price: $1100USD
Channels: 4
TBC: Yes
Monitor Outs: 1 for OSD
Video Outs: 2
Superimpose Layer: No
Wipe/Mix: Yes
Key Mix: Yes
Titler Add-on: No
NTSC/PAL: Switchable

Mixer Feedback Rating: 9/10
Durability Rating: 10/10
Projector Friendliness: 10/10
TBC dropout: HEAVY.  Does not consistently display compromised signals.
TBC Flavor: Non-existent.

Audio Reactivity: Yes
CV Reactivity: No

Mixer Strengths:
The quality & selection of the onboard FX is awe-inspiring.
Boy oh boy this T-bar feels goo-oo-ooood.
All sorts of cool user preset options and wipe settings.
Super tough aluminum housing.
MIDI functionality.
Tempo-based fader modulation!!!

Mixer Limitations:
Just the internal TBC giving you a blue screen (by default) with most any corrupted analog signal you throw at it.
You’ll need a decent external TBC for each channel when using glitch video devices.

Modifications:
3 light up push button effects on the front console.
9 FX knobs per channel (18 total knobs!)

Final Take:

This is the mixer of your dreams, for the most part.  If you are using analog glitch gear with it however the threshold for what to display and what not to display when it comes to running glitch visuals into this machine are not in your favor. But that aside, this mixer is fantastic. With a dedicated monitor for the OSD you have a massive collection of transitions that you can modulate via the tap tempo or bpm dial. The mixer feedback on this guy is naturally quite gorgeous and the onboard effects far exceed what is capable on any other mixer highlighted here. The glitch aesthetics exist in three flavors. There are some color processing expansions that tilt the colors a bit and add some cool channel artifacts. There are luma trails that are quite incredible and deeply resemble the classic buffer trails look with limited control. Then there are 9 very digital, almost datamosh-y, looking effects per channel which push things in a fractured Matrix-y looking direction.

Hope this helps.  Pauper… OUT!

Glory be!  The wait is over!  Paracosm’s Lumen now has MIDI functionality!  Oh brave new world.  That’s gotta feel pretty sweet for Jason.  Should cut down on his e-mails.  I have to have been driving him nuts…..

“Ay Jason, you got MIDI yet?”

“No Drew, not yet.”

(2 minutes pass)

“Ay Jason, how about now, got that MIDI yet?”

“No Drew.”

(2 minutes pass)

“Ay Jason….”

Times a thousand, nyuk nyuk.  Well it was worth the wait.  With MIDI ironed out and a whole slew of published tutorials now is a great time to dive in on Lumen, which is easily the single greatest software based video synthesis platform in the world.  The only thing to figure out is what to nab for it in MIDI controller-land.  There are a lot of options but it’s tough to find a solution best suited to Lumen’s key features.  I personally just want a heap of knobs and a couple of assignable buttons for the mod destination toggles.  Given my prerequisites the most well suited controller seems to be the Behringer bcr2000.   They are a little heavy and it’d be nice to have something with an X/Y pad but that’s enough knobs to route the patch section out to controls too.  Could always use that in conjunction with something tiny like a Korg NanoPad for the X/Y and saving snapshots.   Let me know if you’ve got a better option.

Took this joyous occasion to produce a new Lumen video featuring BPMC processing video.  Cut this down from a little 2 hour session the other night using a mix of modified presets and from scratch noodlings.  The primary BPMC elements include the Premium Cable, the SFX-M Glitchmix and the new Codename: Video-3.  The results where filmed on a CRT via a DSLR.   Enjoy the quiet storm.

Been a little too quiet with the site over the summer months.  No worries though.  Rain clouds are moving in, the sweet scent of decay is in the air and I no longer need to feel like golem for staying inside slaving over a hot CRT.  Let’s get this fall started off right with a bunch of demos.  I’ve got a lot of new stuff on the horizon (as always, as always) but also long over due have been demos for some of the basics.  Here we see a lot more Premium Cable coverage and AVE5 CV coverage.  Still need to get better documentation for the Touch Deluxe and the……. Zola.

This October I will finally be offering mail-in Edirol v4 upgrades.  I’ve got two tiers of mods at two different price points.  When it comes down to it the modified V4 has three effect types; channel corruption, illustrative chrome looks and 2 buffer trails modes.  This video gives you a sneak peak of what to expect from some of the radical channel corruption effects.  For this video I’ve mixed an HDMI camera signal with the V4 via the Roland V-1HD.

Not only is this a solid glimpse into what’s possible with the Premium Cable but it highlights the affect TBC has over computer capture.  I’m using a Black Magic Intensity Shuttle and capturing the Premium at 1080i.  The video on the left has a Sima SFX9 with a built in TBC providing us with a drop-out free capture.  The video on the right has no TBC in place and is serving up a little intermittent drop-out.  You’ll also notice I don’t push some effects as far as they go on the right as it will results in an extended period of lost signal.  While the Premium Cable is totally still awesome and sufficient without TBC in conjunction with computer capture hopefully this video shows you a bit of what’s lacking when capturing sans-TBC.  Mostly what you lose is the rich scrambles and hot moments of frame drift.  A lot of blurs, posterize looks and edge feedback looks still shine through.

Had a good rainbow day the other day.  This video stresses the importance of experimenting with different makes and models of CRT when it comes to the scrambled signals.  Until I began working with DIY CRT-walls I did not realize that a TV’s circuitry & size affects it’s interpretation of corrupted signals.  This 18 inch Sony Trinitron I found on the side of the road a while back really produced some eye-popping results in link with the Premium Cable.  While the Premium Cable normally produces rainbow feedback (it can take a little work…. you have to get just the right knob combination) I found that this TV just made it pop like no other.  Maybe I was just high.  Either way, experiment with displays.  Nuff’ said.

People often ask me if there is much difference in between the effects on the AVE3 & the 2 channel version, the AVE5.  Let’s just say there are more similarities than not.  The wipe effects are really what set the two apart.  The AVE5 is like having 2 AVE3s under one roof plus a bunch of rad transitions and less onboard effects.  This just as easily could be an AVE3 CV demo but it’s not.  It’s me feeding function sweeps (as always) into one channel of the AVE5 CV and having a damn good time doing it.

Finally.  A proper AVE5 CV demo.  As stated above so much can be done with this little guy and only a handful of modules.    Over the course of this video the AVE5 is receiving up to 6 different CV sources.  Various eurorack parameters are being controlled via oscillators and such to perform sweeps.  All of the looks were created and patched with only video in mind.  I know a lot of people have massive audio rigs and are looking to sync everything up to visuals but I have experimented very little with this.  That stated who knows what my CV sources sound like here…. they sure look great though.  🙂

Earlier this spring Leaving Records released Sisters, a full length album by Odd Nosdam featuring a limited VHS visual companion from yours truly. Don’t worry if you missed out on the VHS run however. All the videos (minus one which remains VHS-only) now exist on the information superhighway and are easily accessed via the “youtube” links below. A couple folks were asking about gear used on certain videos so I chose to toss up a little inside scoop with each viddy. Thanks again to Odd Nosdam, Leaving Records, MatthewDavid & Stones Throw.

Track: Bow They Will
Equipment used: BPMC Basic Cable, Modified WJ-AVE5 (strictly for TBC) & a modified Amiga 2500 (although no modified effects are utilized and all Toasted buffer footage was later replaced with the Frame Buffer app to retain HD processing).
Screen: LCD
Additional Software Processing: Signal Culture Frame Buffer

Track: Profane Bong Sue
Equipment Used: All made with video feedback and BPMC Premium Cable for the edge feedback effects.
Screen Used: CRT
Additional Software Processing: None.

Track: Ten Echoes
Equipment Used: Oh man, just about everything wound up on this one. Primarily we’ve got the Fluxus for any and all corruption effect. Also present is the Premium Cable, Basic Cable & even the Fritz Decontroller makes a couple appearances (for all the color processing FX, often used in conjunction with the Fluxus).
Screen Used: CRT
Additional Software Processing: None.

Track: Burrow/Center
Equipment Used: Burrow was all Modified Ave3 of some sort. I believe it was the BPMC Touch to be specific. This video is about three+ years old now so the memory eludes me.  The second half features a high concentration of Fluxus usage.
Screen: LCD
Additional Software Processing: None.

Track: Sisters
Equipment Used: There is a little Fritz Decontroller on the intro and outro. Otherwise all effects were produced utilizing the Premium Cable in conjunction with a very touchy LCD screen. The LCD’s interpretation of the lo-fi HDR effect is what makes the video.
Screen: LCD
Additional Software Processing: Trapcode Shine

Track: Rained (For Lise)
Equipment Used: This look was concocted utilizing the digital video feedback effect in combination with some on-board features on the Touch Deluxe. Only the Touch Deluxe can produce this effect.
Screen: LCD (Can’t believe I used so much LCD on this project).
Additional Software Processing: None.

Note:  BPMC takes no responsibility for yadda yadda yadda.  Follow the BPMC FB page for future DIY posts.

Welcome to the third installment of the BPMC Do-It-Yourself Series.  Think of these posts as starting points rather than definitive mod guides.  I only took these projects as far as I saw fit for my own purposes.  It is up to you to pick up where I left off and make these machines your own.  I look forward to phasing out a number of BPMC machines and rendering them OPEN SOURCE and while I’ve been doing my machines up a certain way, my way is only one of many ways to flip it.  This is a great video circuit for folks venturing over from the audio bending realm and looking for a feature-packed first video bend.

The now retired BPMC Fritz Telegraph Mini is based off of the Solidex Excel 200 “performance video editing center.”

The 200 is a mildly obscure basic video enhancer/fader/switcher  from the Excel series of mediocre consumer grade nineties linear editing aids.  It’s picture & enhancement quality is dreadful (Solidex had nothing on the guys at Rat Shack) and I cannot imagine anybody getting this thing circa 93 and being stoked on it.  I cannot speak for it’s audio mixing capabilities but I envision them to be steeped in “character” & “charm” as well.

Don’t get me wrong, I love this thing, but I love it for illicit reasons.  Lurking deep within the plastic & conflict minerals are a number of explosive glitch aesthetics worthy of every video magician’s Bag-O-Tricks.

The 200 is steeped in a variety of edge feedback effects of varying hue, thickness & stability.  It also has some sync corruption effects that I do declare are mighty tasty.  While a number of the edge feedback effects are common in other machines it has a really fantastic horizontal streak extrusion effect that I rarely stumble upon.  Can’t think of anything else BPMC-wise that produces this look sadly.

Difficulty:

If you are comfortable soldering and don’t mind throwing down on something a little pricier (60-120 bucks on ebay) then the Excel 200 should be a good choice for you.  Many a machine has given me trouble, but the 200 is pretty friendly and easy for a novice to jump in on.  There are no traces to cut, or little digital thumbs to destroy (damn you gods of Videonics!!!)… just straight forward bending.   It’s also nice, there are no obscure ancient old ICs lurking on here so should you burn something out you are only dealing with caps n transistors here for the most part.  Break out the multimeter and get uprooting cap legs you fledgling swine!  You also certainly don’t need to use all 9 bends I have outlined here.  Pick the ones you want.  Not entertaining enough?  Keep bending!!!!!!!!!!!!!

Construction notes:

While the Telegraph Mini uses brass tap switches I recommend just utilizing basic SPDT switches.  I tend to make brass switches whenever I can because unlike commercial switches they never break (thus no repairs) and they are way more expressive on the timing tip.  They can also be utilized in tight spaces.  The downside is that you can’t leave them “switched” on (without a coin or something to lodge under it) and they take forever to make.  There is plenty of switch room on the far right side of the unit and a little bit where I typically put my tap switches.

If going the switch route you have the ability not to pop the circuit out of it’s casing, which is awesome.  Just drill out the formentioned right side and use your little gremlin fingers to tuck some switches in there.  Have fat fingers?  Borrow a child for this project.   When you pop the circuit out of it’s casing it becomes IMPOSSIBLE to get the audio fader slider tabs to sit back in the t-bar mounts on the casing.  You will lose your fucking shit.  I just remove the t-bar tabs and say to-hell with the audio functionality.  I didn’t want to pipe Skankin’ Pickle thru this thing anyway.

Durability:

I’ve never in my history of bending 200s fried one.  I cannot say the same for it’s cousin the 280.  The 280 fucking blows.  You look at that thing wrong and it ceases to function.  Even after mapping out and extensively labeling ground.  Nope, unlike the 280 the 200 is quite forgiving.  I do recommend doing the latter however.  Locate the ground and trace that shit out.  It pops up all over the board and you will want to avoid it like the plague should you go beyond my bends.  Also it should be noted that the bends I have outlined here are after pretty extensive searching.  I’m sure you can dig up some other stuff, but if looking to play ‘er safe, stick to my bends.

Further entertainment:

By all means, experiment with caps between cap-less points.  You could also sub out the cap values I’m using for other values and see what happens.  It’s a cheap and simple way to get the most out of a circuit.  The 200 could also benefit from CV.  Video enhancement circuits often have one or two points that respond well to voltages under 5.  I also never considered hitting this thing with audio but there is another untapped aspect of this machine.  Hell you’ve even got a crappy onboard audio mixer to re-purpose.

I hope you enjoyed the third edition of the BPMC DIY series.  I don’t plan on making these machines for ever.  Slowly but surely BPMC will go open source with all of these creations.  What’s next?  I really need to get my shit together and do the circuit bent DVD player post already.  How do these things manage to take me so long.  Anways anways…..  Have a piece of gear in mind?  Let me know via the contact link below.  PEACE!!

February 26th marks the release of Odd Nosdam’s Sisters LP on Leaving Records.  It also marks the release of Sisters, the videos, on VHS featuring 8 videos by yours truly, the Big Pauper.  Sisters, the videos, is limited to fifty copies and is on some deluxe japanese laserdisc edition tip shit.

“The Sisters VHS multimedia experience serves up a track for track visual companion to Odd Nosdam’s Sisters LP.  Video artist & glitch video tool designer Big Pauper takes you on a journey that is equal parts sound & vision weaving fractured dream-like narratives that explore subjective reality, human absurdity & cosmic origin.  Pauper employs a small army of self-modified video hardware & BPMC glitch video tools to produce a world, alike Nosdam’s, that is fragile, vibrant, vast & compelling.”

We’ve got screenprinted artwork from Jason Blandford, non-robotic hand assembly & 29 minutes of dreamy lysergic sleepy Nosdam inspired visuals.  In the lead up to friday is an unbelievable Boards of Canada’s remix for the title track, Sisters.  I’ve heard it easily 1k+ times and I still love every second of it.  Makes me feel like I’m on a bad ass hike in slow motion and I’m about to do something really cool like kickflip over a waterfall or surf a mountain goat.  When it came time for the video I dusted off my collection of Bread & Puppet VHS tapes and got hacking.  I’ve always wanted to pay homage to the influence Bread & Puppet had on me as a child and I felt the tone of the track really lent itself to the footage.

As far as FX processing goes the wipe FX were generated with the Sima SFX-9 Glitchmix aka BPMC Holy Grail aka Big Trouble in Little Portland aka the Master (Wipe) Shredder.  This actually isn’t it, this was the prototype before I got carried away (DENNIS!!!!), but what a great pic.  Additional FX processing via the now OOP Fluxus glitch video fx processer.