via
this auction
"'music to wash dishes by' (BATHING, chicago, IL, 1982). legendary chicago rarity here, as the story goes, copies have been absolutely impossible, even for locals. here's a perfect example in the shrink, opened and played twice. clearly from the album title, dude has a sense of humor but this is no novelty LP, more of an art meets pop outing and the driving ambient pieces stand out with a soothing sounds-era raymond scott meets dr. philter banx sound. really quite original. some dark, moody synth soundscape stuff on her as well. most sounds like it was recorded 10 years earlier than its release date. back cover pic here is an all time great! see below. see my other auctions for a very fun list of obscure indie & private label LPs and please visit my websites
companion records and
showandtellmusic for more of the same." If anyone knows more about this one, feel free to comment or shoot me an email.
This gem spotted by Brian Kehew of
The MOOG Cookbook
Anyone know what that is to the left of the EMLs?
EML 400 Sequencer
EML 401 Synthesizer
EML 101 Semi-modular
You can find more info on EML via the label at the bottom of this post, and the three here in
this post.
Update via Marco Monte in the comments:
"My name is Tom Cameron and I would like to explain what is going on in the picture on the back cover of my old album "Music To Wash Dishes By". I was pleasantly surprised to see the album profiled and transcribed in the Matrixsynth Blog. The synthesizers (EML 101, EML 4004/401) and the Shure Vocal Master powered mixer were correctly identified as was the location of the performance.
What I think might be of most interest is what I was doing in the performance and how I was controlling the synthesizers. There is a white headband that I am wearing which contains three electrodes which are monitoring my brain waves using a biofeedback machine. This biofeedback monitor would register a small voltage pulse each time that I could successfully maintain a relatively steady alpha state. The brain biofeedback monitor is then connected to an optical interface. This allows me to use the feedback voltage to control the synthesizers without the risk of a ground loop frying my brain. The control voltage of about five volts was then used to control the pitch and filters of the EML 101 and also advance step by step the sequencer on the EML 4004/401. The result was that I could control and play the synthesizers with brain waves alone.
OK, so I couldn't play "Mary Had A Little Lamb" but I did create synthesizer sounds by just thinking about them. I thought that this was pretty cool but not many people understood it at the time. They were two young kids that did get it. They bought a few balloons and sneaked up behind my lawn chair and popped the balloons. As I have a slow shock response nothing happened but about ten minutes later a yellow jacket (I hate yellow jackets) came buzzing around my head and the synthesizers went crazy.
At the time I thought I'd come up with a pretty original demonstration. But later I found out that Alvin Lucier had done a similar demonstration ten years earlier. He obviously did not use synthesizers at that time but he did use biofeedback to control solenoid operated percussion instruments. And currently Tod Machover is pursuing mind-music connections in a similar vein but with much more sophisticated equipment.
I also painted the cover art."
