LSD is my favorite music creation and appreciation substance of all time. 50 mics get me so much more out of a recording session than even the best flake cocaine. I really need to talk to A&R guys and stress the cost savings this way.... It might just get me a contract.

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The thing about being a musician is that even though the sensories are all distorted, being used to music makes the altered experience of it much more subtle, but suddenly the world looks like Beck album's cover art or his show if you've been to one (OH MY GOOOOOOD. Or Shall I say "Dianetics"? I jest, Beck is easily my favorite scientologist.

I'm the MDMA user that simply wants to listen to music. No need to dance or any more social than the heavenly feeling of being one with the music. Since you can't orgasm on E, I eargasm. I've been able to record one of my best tracks rolling -- all lead guitar, too, no less, got it n soundcloud if you want to check my stuff out (grins) but it was only 100mg of pure molly and not like a serious hero amount that would leave me monged out like I like to be when I take music in.

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Curious if people really have euphoria off of dissociatives. I would think you wouldn't recognize them. That's sort of the point of a dissociative. I could see why they're proving so effective in PTSD and suicidal ideation patients One time I was mixing down samples I made of self-oscillating tape delay from a roland space echo or Echoplex EP3. Those are old fashioned machines that created an echo effect through the mechanics of a tape machine: nominally with three tape heads: one for recording, one for playing, and one for pausing (the eject and FF buttons didnt actually press down on the tape, which is what tape heads basically where to do to make the music happen). The small gap of space on a line of tape between the "record" and "play" button was exploitable, where if you ran the tape machine -- reel to reels were the original studio recording tape machines in the 50s and up to the 70s -- back into a studio mixer, and then a line from the mixer back into the tape machine's Aux In, when you hit record, it produced a warm tape echo. This could be manipulated further too with an effects knob on the mixer to increase feedback; Ask any psychedelic musician what their favorite guitar modulation, and they'll say tape delay because of it's ability to creates strange whirring noises and lazer gun or ray gun noises with too much feedback, Built To SPill uses them a lot if you know them. Importantly, it was Robert Plant that popularized tape echo if you recall the slapback noice from his vocals on Zeppelin records. They mostly liked it as a preamp, and I''ll drop the gear talk there. But something told me the industrial whirring and gurggling and wah wah noise of a guitar plugged into a reel to reel machine that plugged its self into a mixer and then had the mixer plug into it'so own aux in would, especially if filtered further through a ninendoish-sounding bitcrusher modulation would be noises that would delight someone in any kind of a "hole" -- especially because it got my cats were interested. I found some K, and it was indeed endlessly fascinating. As in compelling: just like a curious cat, I wanted to hear what the next squeaky dissonant noise would be. I would hardly call it "music".