New York Gong – About Time
The music gear and equipment used by the artists, producers, engineers, and more involved in the making of the 1980 album About Time.
Music from About Time
Artists on About Time
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Roles:
Groups:
Praxis Activities of Dust Painkiller Possession Deadline New York Gong The Golden Palominos Transmutation The Big Guns Flying Mijinko Band Timezone Equations of Eternity Blind Light Astral Night Rollers Charged Cymatic Scan Phantom City Divination Method of Defiance Autonomous Zone Third Rail Mandingo Griot Society Two Against One Blixt Axiom Funk Curlew The Blood of Heroes Toy Killers Radioaxiom The Phillip Wilson Project Surds Psychonavigation Bladerunner Automaton Sacred System Arcana Material Massacre Shango Dubadelic Cobra Strike Shin.e Mandingo Buck Jam Tonic IZA Sypher Tokyo Rotation K2 Soup The Ginger Baker Band Tabla Beat Science Somma Purple Trap Last Exit Bill Laswell India Project Outland Niels and the New York Street Percussionists Second Nature Blue Buddha Kai Bass Invaders Henry Threadgill & Make a Move
Gear Used On About Time
Explore the instruments, equipment, software, and production tools used in the making of New York Gong – About Time (1980). Click more on each item to see exactly how it was used.
Bill Laswell
Roles:
Music Accessories used by Bill Laswell on About Time
Avg price: $99.95
Used for Cymatic Scan, as mentioned in the December 1994 The Wire interview "An Interview with Bill Laswell" by David Toop.
Not chord-changes music: Cymatic Scan (Fax)... "That was done really quickly. I don't think he [Tetsu Inoue] realised we were doing it. I set up a bunch of guitars and stuff, like with E-Bows. He works all analogue, so it's like Electro Harmonix pedals and a bunch of keyboards. You just set it all up and because of the effect of the pedals, they all start talking to each another. And that's incredible. It's always different. I'd set up the same with string instruments, which I never touched this way [mimics normal playing position] but I'd just do stuff with them when they were down flat. Because I had a volume pedal and primitive pedals, the pedals were doing all the talking. We did that for like an hour and then I said, 'We got it.' He's like, 'OK, I think I'm ready.' And I said, 'No, we shouldn't mess with that. That was really good.'"
