Editing My Bloody Valentine (band) (section)

===Sound===
{{Listen|filename=My Bloody Valentine - In Another Way.ogg|title="In Another Way"|description=From ''[[m b v (album)|m b v]]'' (2013), "In Another Way" blends Shields' guitar techniques with elements of [[drum and bass]] music from the mid-1990s.|filename2=|title2="You Made Me Realise (live performance)"|description2=My Bloody Valentine performing the interlude for "[[You Made Me Realise]]" in 2013, the band often performs this track in an exceptionally loud volume.}}
One of the most recognisable aspects of My Bloody Valentine's music is Shields' electric guitar sound, which "use[s] texture more than technique to create vivid soundscapes."{{sfn|DiPerna|1992|p=26}} During the late 1980s, Shields began customising the [[tremolo]] systems for his [[Fender Jaguar]]s and [[Fender Jazzmaster|Jazzmaster]]s; extending the [[Vibrato systems for guitar|tremolo arm]] and loosening it considerably, to allow him to manipulate the arm while strumming chords,{{sfn|DiPerna|1992|p=26}} which resulted in excessive [[Portamento|pitch bending]]. Shields used a number of [[Scordatura|alternate]] and open tunings<ref name="lastv" /> that together with his tremolo manipulation achieved "a strange warping effect that makes the music wander in and out of focus", according to ''[[Rolling Stone]]''.<ref>{{cite magazine|last1=Azerrad|first1=Michael|author-link=Michael Azerrad|year=1992|title=The Sound of the Future: My Bloody Valentine|magazine=[[Rolling Stone]]|issue=6 February 1992}}</ref> Shields' most notable effect is reverse digital [[Reverberation|reverb]], sourced from an [[Alesis]] Midiverb II or [[Yamaha Corporation|Yamaha]] SPX90 effects unit. Together with the tremolo manipulation and [[Distortion#Audio distortion|distortion]], he created a technique known as "[[glide guitar]]".{{sfn|DiPerna|1992|p=152}} Shields effects rig, which is composed largely of distortion, [[Equalization (audio)#Graphic equalizer|graphic equalizer]]s and tone controls,<ref>{{cite magazine|last1=Double|first1=Steve|title=Kevin Shields, My Bloody Valentine Interview|year=1992|magazine=[[NME]]|issue=9 November 1992|page=14}}</ref> consists of at least 30 effects pedals<ref name="nytimes" /> and is connected to a large number of amplifiers, which are often set to maximum volume to increase sustain. During live performances, in the closing song "You Made Me Realise", My Bloody Valentine perform an interlude of noise, which can last for half an hour and often reaches 130&nbsp;[[Decibel|dB]].<ref>{{cite web|url=https://pitchfork.com/features/articles/7132-my-bloody-valentine|title=Articles: My Bloody Valentine &#124; Features|website=[[Pitchfork (website)|Pitchfork]]|last=Ewing|first=Tom|date=23 June 2008|access-date=28 June 2013|archive-date=4 June 2013|archive-url=https://web.archive.org/web/20130604204045/http://pitchfork.com/features/articles/7132-my-bloody-valentine/}}</ref> Shields later remarked "it was so loud it was like sensory deprivation. We just liked the fact that we could see a change in the audience at a certain point."<ref name="gdn" />

[[File:Glide guitar 1989.jpg|thumb|right|Shields performing in 1989 with his "[[glide guitar]]" technique, in which he strums while holding the [[vibrato bar]].]]

Bilinda Butcher's vocals have been referred to as a trademark of My Bloody Valentine's sound, alongside Shields' guitar techniques. On a number of occasions during the recording of ''Isn't Anything'' and ''Loveless'', Butcher was awoken and recorded vocals, which she said "influenced [her] sound" by making them "more dreamy and sleepy".<ref name="DeRog">{{cite news|last=DeRogatis|first=Jim|author-link=Jim DeRogatis|title=A Love Letter to Guitar-Based Rock Music|work=[[Chicago Sun-Times]]|url=http://www.jimdero.com/News2001/GreatDec2MBV.htm|date=2 December 2001|access-date=28 June 2013}}</ref> The vocals in most My Bloody Valentine's recordings are low in the mix{{sfn|McGonial|2007|p=75}} as Shields intended for the vocals to be used as an instrument.{{sfn|McGonial|2007|p=76}} Critics have often described the band's vocals as androgynous.<ref name="spin08">{{cite magazine|last=Reynolds|first=Simon|title=The Opposite of Rock 'N Roll|magazine=[[Spin (magazine)|Spin]]|issue=August 2008|pages=78–80}}</ref>