Nicolas Collins

Featured on this page and this page of Collins' official website.

"Trombone-Propelled Electronics" [https://www.nicolascollins.com/trombone2stack.htm]

Trombone-Propelled Electronics rev. 2, 1995: Digitech TSR-24S above; Bryston 2B-LP chassis below, containing amplifier channel for trombone speaker in right side, re-packaged STEIM SensorLab in left.

"Trombone-Propelled Electronics" [https://www.nicolascollins.com/trombone2bryston.htm]

Trombone-Propelled Electronics rev. 2, 1995: open Bryston chassis, rear view, showing amplifier channel on left, SensorLab circuit boards on right.

Two modified Super Replays were used for Devil's Music, as featured in August 11, 2009 pages of Collins' website here and here.

"Super Replay"

Electro Harmonix Super Replay, subtly hacked (1985) with the addition of a "stuttering circuit" to retrigger the sample in response to peaks in the incoming audio signal (the Gibson knob on the right controls the retriggering sensitivity), a toggle switch (between "input" and "drum pad" legends at upper edge of box) to select as an input either the radio or the outputs of the other devices for "resampling", and a connection for an external power supply. Used in Devil's Music. Photo by Simon Lonergan.

[https://www.nicolascollins.com/pictures/superreplay.jpg]

"Devil's Music"

Typical performance setup for the original 1980s version of Devil's Music, showing multi-band radio, cuing headphone (one-half of a Koss Pro 4A), hacked joystick controller for adjusting pitch of samples, two modified Electro Harmonix Super Replays, one modified 16 Second Digital Delay. Not visible: power supply, mixer. Photo by Simon Lonergan.

A modified unit was used for Devil's Music and Vaya Con Dios, as featured in August 11, 2009 pages of Collins' website here and here.

"16 Second Delay"

Electro Harmonix 16 Second Digital Delay, extensively hacked (1984) with the following modifications:

• "stuttering circuit" for retriggering or reversing the sample in response to peaks in the incoming audio signal, with adjustments for triggering threshold and response time (the two Telecaster-style chrome knobs on the right);
• rotary switch (with small aluminum knob, top center) to select whether stuttering circuit re-triggers the loop from its head (Hip-Hop-style repeated attacks) or reverses it for turntable-style sample scratching;
• illuminated pushbutton switches for manual selection of forward or reverse playback (to the right of stuttering knobs) -- the LED in the upper button indicates forward/reverse state, while the lower LED blinks when the stutter circuit triggers;
• a toggle switch to select two audio inputs -- either the radio or the outputs of the other Electro Harmonix boxes for "resampling" (between "input" and "drum pad" legends at upper edge of box);
• existing jacks have been rewired for the second audio input (described above) and an external control voltage input for pitch change from the joystick (see legends on paper stickers);
• toggle switches and light-touch momentary pushbuttons in parallel to replace heavy-duty "stomp box" switches for loop enable (above "INFINITE" legend, lower left) and effect bypass (above "BYPASS") -- more playable on a table-top than the original push-on/push-off footswitches;
• cable to external power supply to replace rather unreliable built-in supply.

Used in Devil's Music and Vaya Con Dios. Photo by Simon Lonergan.

"Devil's Music"

Typical performance setup for the original 1980s version of Devil's Music, showing multi-band radio, cuing headphone (one-half of a Koss Pro 4A), hacked joystick controller for adjusting pitch of samples, two modified Electro Harmonix Super Replays, one modified 16 Second Digital Delay. Not visible: power supply, mixer. Photo by Simon Lonergan.

[http://www.nicolascollins.com/pictures/devilsmusicsetup.jpg]

Used for Pea Soup, as specified in this page of Collins' official website and this page about Pea Soup.

"Countryman Phase Shifter"

The fabulous Countryman Model 968 Phase Shifter. Manufactured c. 1974, this circuit was the heart of my feedback piece Pea Soup. This specific box, which I bought on eBay in 2005 in a fit of nostalgia, had been owned by the legendary "Different Fur" recording studios in San Francisco.

"Nicolas Collins: About Pea Soup"

I composed Pea Soup while a student at Wesleyan University. A self-stabilizing network of analog circuitry (originally three Countryman Phase Shifters) nudges the pitch of audio feedback to a different resonant frequency every time the feedback starts to build. The familiar shriek is replaced with unstable patterns of hollow tones, a site-specific raga reflecting the acoustical personality of the room. These architectural melodies can be influenced by moving in the space, making other sounds, or even by letting in a draft of cold air. The piece existed both as an installation, responding to visitors, and in a concert version, in which people performed activities intended to influence the feedback.

In the late 1990s I tried to replicate the now unavailable Countrymen, and by 2002 developed a fair emulation in software, which I return to for minor tweaks on a regular basis. Thirty years on I began touring the piece again, and re-positioning what was a typical 1970s task-oriented work of strict Minimalism with a freer occasion for "improvising with architecture."

Featured on this page of Collins' official website.

Trombone-Propelled Electronics rev. 2, 1995: Digitech TSR-24S above; Bryston 2B-LP chassis below, containing amplifier channel for trombone speaker in right side, re-packaged STEIM SensorLab in left.

Featured on this page and this page of Collins' official website.

"Trombone-Propelled Electronics" [https://www.nicolascollins.com/trombone2stack.htm]

Trombone-Propelled Electronics rev. 2, 1995: Digitech TSR-24S above; Bryston 2B-LP chassis below, containing amplifier channel for trombone speaker in right side, re-packaged STEIM SensorLab in left.

"Trombone-Propelled Electronics" [https://www.nicolascollins.com/trombone2bryston.htm]

Trombone-Propelled Electronics rev. 2, 1995: open Bryston chassis, rear view, showing amplifier channel on left, SensorLab circuit boards on right.

Half of a Koss Pro-4A was used for Devil's Music, as featured in this August 11, 2009 page of Collins' website.

Typical performance setup for the original 1980s version of Devil's Music, showing multi-band radio, cuing headphone (one-half of a Koss Pro 4A), hacked joystick controller for adjusting pitch of samples, two modified Electro Harmonix Super Replays, one modified 16 Second Digital Delay. Not visible: power supply, mixer. Photo by Simon Lonergan.

Used for Devil's Music, as featured in this August 11, 2009 page of Collins' website.

Typical performance setup for the original 1980s version of Devil's Music, showing multi-band radio, cuing headphone (one-half of a Koss Pro 4A), hacked joystick controller for adjusting pitch of samples, two modified Electro Harmonix Super Replays, one modified 16 Second Digital Delay. Not visible: power supply, mixer. Photo by Simon Lonergan.