Experimental 003 is third of a series of albums made by the group Eureka Creek.
When creating samples and underlying drones for their upcoming record it became necessary to experiment with instrumentation and equipment. This, in most musicians minds. is a necessity; feeling where the sound and music can take you, develop ideas, discover how flexible the format is to work with and eventually the sound becomes a piece of music.

This third instalment is constructed of five recordings from old cassettes played 10% slower. When doing this the pitch of the cassette's audio also drops lower. It can be said that the music exists in-between the standard notes and is transitioned from what it was originally constructed to be. The same occurrence takes place if it when the tape is sped up and raised in pitch by 10%.
Eureka Creek based this idea on the disagreements on what the standard concert pitch was for instrumentation music. This occurred many times throughout history, eventually leading to A above middle C being tuned to 440Hz (equal temperament), unless you’re playing Baroque music, which is usually agreed upon to be A = 415Hz. Although in modern times the Berlin Philharmonic have been tuning 443Hz which is lower to to their previous standard of 445Hz. This is because standard pitch tends to rise over time. Also, in Cuba, they typically tune A = 436Hz as it adds a little more longevity to their strings. Maybe it’s not agreed upon as much as we thought?
This leads us to the concept of lowering the speed of these cassette recordings to create a form of alternative tuning concepts, and in turn, due to the use of tape, tuning the saturation transitioning it into notation itself, hence the title of this third instalment of experimental recordings.

These recordings were initially created with the use of a reverse-loop outboard effects unit, which led to new forms of tone and harmony.
Frequency equalisation and signal volume were sent to the final recording sequencer, which forces you to follow the mood of each piece caught by the musicians; one harmony intersects with the previous, much like notes do when crossfaded with the last. This creates an improvised synchronisation effect, which in turn leads the musician to free-form and improvise with techonlogy-instrumentation
Altering the mix value twists the natural musical development occurs, even with the incoherence and randomisation of the frequencies captured. The performer does not know what the audio signal will deliver next.
What more, the listener not only hears looped harmony, but the original audio mixed with caught repeated parts of audio with a multitudes of tones towards harmony and dishevelment; when listening long enough the listener will eventually start following their own mentally driven pulse, tone, and rhythm triggered by the saturated signal of an old cassettes.
A new variable of what is studied can be heard, which was not accounted for prior taking the practice on; ironic that the cassettes were so old that the tape itself had parts worn, aged, and warped. This in turn, it can be said added new timbre and tonality, which in turn adds original harmony.
Recording tape, in all its forms naturally saturates. It adds to the overtones of harmonics, sometimes even hidden to the listeners first perceptions. With this collection of recordings it only adds to the richness of these pieces created.

The mixing process for this record was only to adjust the stereo image and remove any unwanted noise that detracted from the intended audio quality of the recording.