Editing Frank Zappa (section)

====Tape manipulation====
During recording sessions in New York in 1967, Zappa increasingly used [[audio engineer|tape editing]] as a compositional tool.<ref name="miles"/>{{rp|160}} A prime example is found on the double album ''[[Uncle Meat]]'' (1969),<ref name="james"/>{{rp|104}} where the track "King Kong" is edited from various studio and live performances. Zappa had begun regularly recording concerts,{{refn|group="nb"|In the process, he built up a vast archive of live recordings. In the late 1980s some of these recordings were collected for the 12-CD set ''You Can't Do That on Stage Anymore''.}} and because of his insistence on precise [[Out of tune|tuning]] and timing, he was able to augment his studio productions with excerpts from live shows, and vice versa.<ref name="Mix2003">{{cite web|title=We are The Mothers&nbsp;... and This Is What We Sound Like!|last=Michie|first=Chris|publisher=MixOnline.com|date=January 2003|url=http://mixonline.com/recording/business/audio_mothers_sound|access-date=January 4, 2008|url-status=dead|archive-url=https://web.archive.org/web/20080308055438/http://mixonline.com/recording/business/audio_mothers_sound/|archive-date=March 8, 2008}}</ref> Later, he combined recordings of different compositions into new pieces, irrespective of the [[tempo]] or [[Meter (music)|meter]] of the sources. He dubbed this process "[[xenochrony]]" (strange synchronizations<ref>{{cite web |first=Bob |last=Marshall |title=Interview with Frank Zappa |date=October 22, 1988 |url=https://www.afka.net/Articles/1988-10_Bob_Marshall_Interview.htm |website=afka.net |access-date=October 18, 2023 }}</ref>)—reflecting the Greek "xeno" (alien or strange) and "chronos" (time).<ref name="Mix2003"/>