Hey @Fedor I hope you don’t think I’m too fixated on it but I’ve thought more about your question
While searching for a clearer explanation i found something once shared in an old thread
Rhythmic and textural complexity is highlighted differently when i think about music this way. I’ve also spent the past few months focused on exploring methods to produce an artificial sense of confinement for listeners…controlling the perception of width (using mono or mid/side rather than L/R) is one way to accomplish that goal.
As noted by Zander
Credit definitely goes to my mastering engineer for this one. He did an excellent job and his work on this has elevated things to a level that matches the energy and power of the sounds themselves. By Saturday (4/11) I had tuned the synths and reached two or three pockets which I was quite confident would sound…interesting
I recorded two of those patches (what you now hear as PESH and MNYK). My thinking was that “Hey, if you have a technical problem, just play these minidisc recordings for a bit while the issue is fixed…”
Sunday morning I changed my mind and rehearsed again with the recordings from the day before incorporated into the 2nd half of the show. I dripped excerpts of PESH and MNYK thru Otis on norns and mixed that with the (now mutated) synth patch which created them in the first place. This recorded rehearsal became GÜELL (performed again during the actual show but i left that 2nd version on the cutting room floor to streamline the release).
Only IHIB and ÉCLADE were straight from the twitch recording from 4/12. However, all the tracks are performed “live” to digital tape (minidisc, norns or my computer) and a few were edited for length.
Thanks. Some of what’s on the release are the untreated minidisc source for the live dub i ended the set with. Also, while mixing the song ÉCLADE i used a few midi-mapped params from @randy’s aaltoverb to create additional atmosphere.
Oddly enough the actual music was the only part of the performance which i did not plan.
I remembered this old thread (for those performing their 1st show) suggested good ideas so i made personal notes on my phone mapping out a general idea of the pace and movements. Here were my performance notes:
• START CLOCK
• BEGIN RECORDING VIA OBS
• ROTA I ~ ALEPH PESH (play 317 + swap crow outs 1,2, 4)
• ROTA II ~ ÉCLADE VARIATIONS (mixer, sds, compass 3.0)
• ROTA III ~ PARC GÜELL (minidisc raws, otis)
I actually had a problem with norns an hour before i was supposed to start and forgot to charge while troubleshooting. That plus rehearsal with new grid controls for Compass drained the battery down to 6% 
when i started the show.
So the second major cycle had to be totally improvised sans Compass so i could at least play the last 10min cycle with norns involved.
People seem to like the dynamics during that part and now i love it too. Especially considering the fact that it more closely resembles the original composition (for teletype, mixer and drum synth)
While MNYK was loosely based on the principles of an older track, ÉCLADE actually uses the same teletype scene i wrote for the original.
