On my way South on a recording road trip, decided to take the inland road from Kaikoura as was keen to take some photos in the snow…. Unfortunately further up this road the snow got so deep I had to turn back, after helping a 2WD van that had got stuck! So beautiful how landscapes get transformed by heavy snow!
Exhilerating, but a little too windy to fly my drone
What Noises Remains is an evening-length piece for percussion, electroacoustic sound, text, and video. Composer Peter V. Swendsen and percussionist Jennifer Torrence take as their starting point Shakespeare’s iconic play, The Tempest, to create a collaborative piece that is part archeological dig, part musical narrative…an expression of confinement, control, and ultimately, wonder.
My Pico 8 voice drumkit just arrived, all the way from Latvia thanks to @EricaSynths – I got the programmer too, so I strongly suspect some EMF sounds are going to get loaded on to some of these – you can use CV to change samples, so could be very interesting for randomised rhythmic glitches! Great work fitting these on to 3HP, perfect for my Intellijel 7U portable cases….
The Elektroluch loved my Dyson battery powered vacuum cleaner… Slowly my instincts are developing as to the kinds of devices that will generate interesting EMF!
I’ve done a few sessions of using motion control to capture slow moves across circuits, but today swapped roles & captured the EMF generated by the @SYRP Genie and Genie mini – fun recording speed ramps (ease in/out)
Also recorded this vintage massager I bought ages ago – it looks & feels like some retro scifi space laser, but the operating manual is a little terrifying!
It is unreal how much variation in EMF there is, when you move an Elektroluch across the screen or body of a laptop… So rigging up motion control seemed a no brainer – a 1 minute pass across revealed a beautiful landscape of sounds!
Had this crappy old scanner/fax/printer donated to me a few years ago… and it sat in the basement for the last few years, waiting for this moment!
I was just reading this article at Sound on Sound from 2014, about options for secondary monitors i.e. ‘less than ideal’ monitors for checking your mix…. No matter what I’m mixing I always use the reality check technique of turning down the monitor level until its very low, to see which elements disappear & which still rate (or are too prominent) as it is easy to be seduced by great monitors…
And I know there is an Eno Oblique Strategies card about listening from another room, to again help identify any balance issues… But its made me think, it really would be wise to get a pair of crappy speakers for comparisons – so if you do already, what do you use?
Relatedly I screen capped this image of French electro producer Surkins studio from a promo video for Swiss watchmaker Audemars Piguet – watch the vid here – do the smallest speakers look like Auratones?
Also another question – I’d love to hear from anyone using one of the MOTU AVB interfaces, especially with ProTools. Considering getting one to route audio across Cat5..
update via twitter – thanks Keith!
@keith_robichaux Avatones in the pic. NIN/film composer Charlie Clouser loves AVB.
great interview/article with Charlie Clouser re his set up here and what great advice: “I’d just advise those starting out to not be afraid to try something new, different, or off the beaten path. The one thing I’ve tried to do, whether making records or scoring films, is to avoid doing what I hear everyone else doing. If someone out there is just killing it with a particular sound or style, then I try to steer to one side and find a path that hopefully fewer people are taking.
Sometimes I wind up hacking my way through the underbrush with a machete, wondering why I wandered off the road and into the overgrown bushes, but hopefully I’ll wind up in a nice secluded spot that I have all to myself. This approach might not work for everyone, but it seems to have worked for me.”