So, I’d see all of these images of my friend composer Gerriet Sharma who is the person who has worked most extensively (and intensively) with the IKO, where he is peering at it in the way you might peer at a cone of grey ice cream or a neatly folded pair of trousers left purposefully on a street corner… something of that nature (I’ve never seen either of these but now I’m tempted to look).
And then, bam! You start working with the thing and it bewilders and bewitches you, and the evidence is in the peering.
It’s overdue that Gerriet is formally introduced:
Now before we go any further, I must insist that you take a look at his body of work: https://www.gksh.net/
Though Gerriet was the person that first talked me through the multichannel DAW setup for the IKO, I must admit, I prepared my sound materials in stereo. There is a ‘virtual IKO’ setup for Reaper (the vIKO) but it doesn’t come close in comparison, so I just thought I’d get the materials processed, bounced down, and into a rough arrangement in stereo. Then take it to the IKO.
The IKO makes EVERYTHING sound spectacular (sorry Debord, I mean that in positive terms). I could have thrown noisy phone recordings at it and it would have tuned them up and shone them out of itself like the rays of precious ethereality it always, generously, offers. It’s a relief to fall back in love with the object of your desires after time apart.