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If it's a larger space, and the PA is stage mounted, the sweet spot for stereo is going to be way back at the friggin bar where nobody is listening to you play anyways. Think about it. Don't make me draw diagrams. If they are overheads above the stage, or more commonly, at the extreme L/R of the stage, that's what, 15-20 feet between the l/r ? Depending on the angle on inclination, that's gonna put the sweet spot at least 25 feet back from the stage. In front of that, you are not going to hear ANY direct sound, it will be 100% reflections (which is why at rock shows, people crowd up to the front to hear the amps and not the club PA)

In almost all situations, it's going to sound better in mono. The sound guy knows this, so he is going to do you a little favor and merge your channels. A good rule of thumb while mixing anything is to ALWAYS CHECK YOUR MIXES IN MONO.

i am obliged to tell you to go fuck off, and then submit a track.

unexpected end of archive; corrupt.

I, Cactus is still around and still making all sorts of music. He's currently on internet hiatus though, and it would appear that he did indeed remove the soundcloud account for his I, Cactus moniker.

If you can hear reverb on it, it's from the physical spaces I was in. (No digital reverb present at any point.)
Good examples would be the starting gong sound (recorded in a brewing kettle) and the filing cabinet jam around 14:30.

The piece was then assembled from hours or source material in cool edit pro. Some things, like the drums and guitar drones were recorded in my bedroom. At the very end you can hear garbage trucks passing outside, 20-30ft from my bedroom window - that's how sensitive the mics are.

I could have gone back and recorded the final mix in one of the buildings used, but I generally don't like applying one constant effect on a dynamic piece of music. If it was a pure drone, perhaps. I wanted the percussive elements to stay dry.

It can be amazing, but it all depends on your material and the space you're using.
The source material for this was all recorded in abandoned buildings in Montreal:

http://ilkae.bandcamp.com/track/spring- … om-pebbles

Not a chiptune. I would imagine that some awesome phase modulation could be attained using wet+dry chip sources though.