Oct 15, 2026 · 1 hr 15 min · 13 segments
Decisive Podcast Series · Season 2 · Episode 12 CHRISTINA WHEELER Vocalist · Composer · Multi-Instrumental Electronic Musician Christina Wheeler joins Roberto Ingram and co-host Zoe for a…
And, uh, I've seen a, a lot of your technology with it, which I would like to get into if you could spill the beans a little bit, [laughs] uh, technology as a tool.
You've made an important distinction between technology and technology isn't the inspiration.
What's the one discovery you've made with a tool that gave you something you couldn't have imagined beforehand?
Well, you know, I started out in a band, uh, with my old bandmate, Nina Manchin, called Wire Mouth, and literally it was the first piece of equipment that I had.
It was a, I think a TE multi-effects processor, and she had one of her own, and then we had one jam man.
And then, um, from there I wanted my own looping device, so I ended up getting first one and then a second Digital Echoplex.
And the nice part about it was, uh, speaking of the fact that I don't teach [laughs] which we mentioned before, um, which I'm fine with-
... uh, for me, having two of those looping units was almost like having two turntables.
So I had two sound sources, and what I loved about starting to work with this particular looping device is that it's very dense in the ways that you can program it.
So you can program the pause button, the mute button to start and stop the loop in different places, and one of the things that I liked is that you could get...
Um, because I was doing everything by hand, I wasn't syncing it up, and that was on purpose.
So these are the little tensions that you would get, which I think is what makes music and sound making with machines and humans very beautiful, is that you have the seeming perfection in digitalism, which is like ones and zeros, and it seems like it's perfect, but of course we know you can go in and hack it and make it do things it wasn't supposed to do.
And then you have the physical body and the personal hand and the touch that you get from that, and that's intrinsically not linked into a grid, and those tensions can be beautiful.
So if I would make a loop with one of these looping devices, it would have a kind of a repetition to it, but what was within it was imperfect.
And then I would do another loop that also had a seeming kind of consistency to it-
And, uh, I've seen a, a lot of your technology with it, which I would like to get into if you could spill the beans a little bit, [laughs] uh, technology as a tool.
You've made an important distinction between technology and technology isn't the inspiration.
What's the one discovery you've made with a tool that gave you something you couldn't have imagined beforehand?
Well, you know, I started out in a band, uh, with my old bandmate, Nina Manchin, called Wire Mouth, and literally it was the first piece of equipment that I had.
It was a, I think a TE multi-effects processor, and she had one of her own, and then we had one jam man.
And then, um, from there I wanted my own looping device, so I ended up getting first one and then a second Digital Echoplex.
And the nice part about it was, uh, speaking of the fact that I don't teach [laughs] which we mentioned before, um, which I'm fine with-
... uh, for me, having two of those looping units was almost like having two turntables.
So I had two sound sources, and what I loved about starting to work with this particular looping device is that it's very dense in the ways that you can program it.
So you can program the pause button, the mute button to start and stop the loop in different places, and one of the things that I liked is that you could get...
Um, because I was doing everything by hand, I wasn't syncing it up, and that was on purpose.
So these are the little tensions that you would get, which I think is what makes music and sound making with machines and humans very beautiful, is that you have the seeming perfection in digitalism, which is like ones and zeros, and it seems like it's perfect, but of course we know you can go in and hack it and make it do things it wasn't supposed to do.
And then you have the physical body and the personal hand and the touch that you get from that, and that's intrinsically not linked into a grid, and those tensions can be beautiful.
So if I would make a loop with one of these looping devices, it would have a kind of a repetition to it, but what was within it was imperfect.
And then I would do another loop that also had a seeming kind of consistency to it-
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