Hi Brian. I'm happy with the thread as it is.
(In case anyone thought a stereo theremin was a figment of Brian's imagination, click here (http://www.no1derland.com/web05/009.htm).)
I haven't had chance to play with my AirFX much at all, having been in Berlin for Carolina Eyck's birthday/CD release party. (Randy George was there too! He's just as lovely and unassuming as you would imagine.) And since my return I have succumbed to a touch of winter flu. Ugh. But that's OK - I've had plenty of time to think about how the AirFX would fit into my music...
To summarise - (1) echoes and are a big part of my sound. (2) I make "hand-made" music (pun intended) - imperfection is integral to my musical philosophy - a reaction to a mass-produced, production-line world where perfection is a machine attribute. (3) When I am not actively producing sounds the echoes take centre stage bringing with them the exact, perfect repetition I strive to avoid. (4) It's hard to keep the sound controlled without leaving spaces for the echoes - or everything just builds up and up. Conclusion - the obvious place to introduce the AirFX is when I am not playing, but when I am allowing the music to continue on the echoes. So in the effects chain I'll be putting it after the delay pedal.
That will be a starting place - so perhaps for me directly under the volume loop is not such a silly idea, but I also own a boom stand, so I'll be trying a side-on approach too.
Brian's comment about stereo is interesting too - but better to say "two channels" - in, for example, Gently Drowning and Iron Sun I use a ping-pong delay to split the sound into two channels before recombining them with my ring-modulator. At that point between the ping-pong and the ring-mod I could make use of the stereo facilities of the AirFX. (But, d'oh, I anticipated the problem with RCA sockets and bought some long cables with mono jacks at one end and RCA plugs at the other, but only two of them, because I did not anticipate wanting the stereo facilities. Ah, well.)
(And to bring the credit full circle I should mention that it was Brian's observation about the lack of timbral variation in Bouncing Blumfeld that kicked off my interest in shaping the timbre, firstly with Brian's wah pedal, and now the AirFX. Which is ironic, because that was an exercise in [i]not[/i] leaving space for the delays but continuously stamping over what has gone before.)
Enough for now. I'm off back to bed with a hot lemon drink. Happy New Year everyone.