"Co define : themechanize employehysicaand over art. d must beroom' sounds. veping etc, or 'moving around the and bee-recorders allr found a Analoguel things that do ,ouch es portable mono 'rectr with wear and te hidden information from the rinteing on ar in thed nstruments recording/playback syste letters ' ts :IId le pen-taprm-process. The ligital systeat oms areapmeech + Palme et ith p scientific limitethed lab-mind (non-Franker and theYou then play it lhat banishe - w and Ham Radtwe11 ndd beransmissions, erson Lakeit homeds nsteen therd, and shoul homettee or playe two ther moreings recorded ,madeeriod of silin), tspecially if dee at night, and at the end of sidethrough the air dired at all coctly into the spe r coveatee is a avoidests, .tuned static, ar built in mic on hoseangle 1970' things beow good IIIrd to manifest, aually every time - eShortwaveyoio ttapers' Tarkus Lp ? You in a 'Junk'shop of, say, Esoun and look at the colour cover, re or ess 3rd Side, Thceive thethespecially if thecorded areence you think it's the end — then it takes you completely by surprise, s unexpectedly, there is a section of unfamiliar weird frequency with talking in ^e background - obviously home—recorded. That is the Third Side. 1; is never found on CD, BAT, minidisc or Laser disc. CD-R recordables forget it. It in sometimes be found on LP records — but rarely,, Look for locked grooves at the id of a side and in the gaps between the needle clicking dust sounds. Or perhaps ao i-planned pressing fault will reveal.....It would no doubt occur if you had your m record cutting machine + you cut straight onto blank 78rpni lOinch shellac discs, • re—cut directly into already existing pre—published shellac discs, like old jazz, •icket, punch and Judy, seafaring, detective spoken word releases. ; works best on normal bias compact audio cassettes. Try and use late 60's/early or d 70's origional Sony tapes, the ones with the silver—metallic leader tape for 'st results, although same period TDK's and un—branded cheap makes will work. :pensive professional equipment filters out all good possible interferance inter- tions and is sterile. Cheap equipment is vastly preferable to new. It is much more efull in it's wonkiness and purposeful distortion, warping normal reality and eating 'gaps' where the IIIrd can flow in. screened old cables to pick up nice hums and BF pleasures,, The wow and flutter teways, worn tapeheads that muffle as if drugged — will help draw aside the rtain of accustomed hearing habits — to reveal the Vistas of IIIrd,,..... .It is ese subtle warpings of the normal that is important here — the subliminal speeding and slowing down of the tape movement that occurs on cheap machines — it doth eate the Main Door for Third Side Enterings. Experimentation + Intuition will fgeat trapdoors and skylights. e actual tape medium itself is a key roleplayer. Pull out the tape from it's hard »11 and handle it in a big scrunched up ball in your hands for a while - smell the ie — put it to your ear - wear it as a wig on your head. You will find it has an rie, slightly nauseous effect. There is something not quite right about doing it. i actual recorded reality is in your hands - there is magic here. Ybucan hear it you listen enough. It can provoke mental imagery and visions and pictures too« i can do so much more with audio tape than other mediums. The Manipulations. •etch it, bake it in the oven for meltdown sounds, splice it at random, play it ikwards, speed it up, slow it down. This is where reel to reel tape machines come .0 their own - the dual Magic Circles of promisee.....Tape over existing sounds .in and again, for worn tape bleed through effects — the tape and it'a normal .lity gets worn and tired and begins to 'dream' in musical sleep, forgetting what uld be on there and manifesting hidden Thirds..«...Heel to Reel tape is, of rse, suseptible to 'print through' effects, where both sides, or all 4 if a four ck tape, merge together as one sound pattern. The phenonamen occurs where tapes stored unplayed in hot atmospheres for long periods. Bast good echo-weird effect ending on what is already on the existing, pre—transformed tape. reel to reel machines with 3 or more tape speeds are highly praised IIIrd Side ifestors. Recording searches for the 3rd whilst it's raining heavily and you have t pleasant 'forced to stay in' feeling is condusive. Also record outside field— ation recordings anywhere, especially near electricity pylons or sub-stations. B mirrors in the room - especially black ones. Record Thunderstorms at the full i by candlelight. of ehosts and lonely hilltops. Record Ultra-Low-Frequencies by Becord in haunts ^ ^^ away from radio stations, th«n - r«o«rd late in the going t0 a ^""""'i' morning, with a portable tape recorder - plug a jack into the mic night or ear 3r wire leading to a copper spike that is pushed into the earth. The socket, with ?^+.^e^ to the largest non-rusty metal object you can find, such as ather wire is machinery. Put headphones on, turn up the volume slowly, and listen a fence or ta transmissions, but not too loudly, as ear damage can occur at high in on the sec volume levels. in lusting after the 3rd - you repel it. Bb relaxed, organically drawn Bemember "". ^ un-concentrated un-tense. The Third manifests when you are not to the ques . happens 'just like that' with 'effortless genius' on your part. looking"""""""" and sounds together is a great technique. Have at least 3 sources or Mixing tap ^.y^^gridly overlays The cauldron. The process of activation. Alchemic inputs, ^gyg are preferable to 4-Track recorders, as the former allows each strategy.^^ ^^ ^^ other more smoothly and deeper. A IIIrd Side segment will ^""^ md on playback of the recording, that was not consciously recorded. Hand ^ l°cate the master copy whilst staring at the tapes going round squatted on your up u g ean induce IIIrd unexpecteds - especially if you witness either of the +ABPS momentarily stopping, frozen in space, that can happen when the 3rd enters. There are similarities with the IIIrd Side and the 'spirit voices' recorded by Konstantin Baudives in the early 1970's experiments. Unexplained voices that did appear from nowhere onto tape via radio + microphone. See 'Breakthrough' by him, published by Colin Smythe, 1971. (I stop typing nowo This article was automatically stream of consciousness •written). WOLFGANG PCCK. August 1998. North Wales. With thanks to WILLIAM BIROS. c^\(e