Tape manipulation During recording sessions in New York in 1967, Zappa increasingly used tape editing as a compositional tool. A prime example is found on the double album Uncle Meat (1969), where the track "King Kong" is edited from various studio and live performances. Zappa had begun regularly recording concerts, and because of his insistence on precise tuning and timing, he was able to augment his studio productions with excerpts from live shows, and vice versa. Later, he combined recordings of different compositions into new pieces, irrespective of the tempo or meter of the sources. He dubbed this process "xenochrony" (strange synchronizations)—reflecting the Greek "xeno" (alien or strange) and "chronos" (time).
Tape manIPuLation DuRing rECorDinG sessioNs IN New yorK IN 1967 ZaPpA IncReASiNgLY usEd tape EdIting aS a COmpoSiTiONal ToOL. a pRIme ExaMplE is found on THE double albUm uNcle mEat (1969), wHere tHe TrAck "kINg kOnG" IS EdiTeD FROm variOus studio and lIve peRFORmaNces ZaPpa had begun RegUlaRlY recordiNG coNcerts, AND BeCAUse Of hIs insistEnce oN pRecISE tUNInG And tIming, HE was ablE tO augmenT his studIO PrOductiOnS WiTh exCErPTS FroM livE sHOws, aND VIce versA. Later, he cOmbIned recordingS of difFeReNT COmpositiONs inTo new piECEs, irRespectiVe of the tEmpo Or mEtEr Of the SOUrcEs. he dUbbeD thiS pROcess "xENoChrony" (stRange synchroNizatiOnS)—reFlectIng the greek "xeno" (ALIeN OR straNGe) anD "ChronoS" (tImE).