When people, including me, speak of long exposures
they usually mean 30+ seconds or (many) minutes…
Every situation is different, but today I tried
capturing short long exposures, ie still shooting bulb exposures
with a Lee Big Stopper ND10 filter or Lee Super Stopper ND15
but in bright light, cranking iso so exposure was only 1-5 seconds…
The motive: trying to time the shot to capture the movement & interaction
between a stream exiting into the ocean,
and the waves occasionally crossing over into the stream…
I shot maybe 50+ photos, experimenting with the idea
these are a few…
▶ Digitalism – Red Lights
▶ Erland Cooper – Solan Goose for 8 pianos, 1 Violin & 1 Glockenspiel
And reposting nuzic 53, which got lost in the server crash:
▶ Jóhann Jóhannsson – Jói & Karen
▶ Jóhann Jóhannsson – Jói & Karen – Ryuichi Sakamoto Rework
▶ Unknown Mortal Orchestra – Not in Love We’re Just High
▶ Downscope – Axiomatic Systems
Powers of Ten™ (1977) by Charles and Ray Eames
TRUCK DOPPLER HORNS is now released – early bird discount expires April 7th
not coincidentally I’ve been reading
Small Is Beautiful – Economics as if People Mattered PDF
E. F. Schumacher – 1973
Directed by Antwan Horfee
Drawings & animation : Antwan Horfee
CG artist : Armand Beraud
Sound design : Lionel Boutang
Percussions Gazelle & Erwan
Keyboard Lionel Boutang
Produced & mixed by 10LEC6, Lionel Boutang & Pascal Exposito at Zarma Studio Paris
I’ll post some more photos from this location when I get home, but Smash Palace is a large scale & historic car recyclers… although what the cars are being recycled to god only knows! Equally for anyone rebuilding a very rare historic car or truck, they are an invaluable contact!
Its been used as film locations a number of times, but nothing can prepare you for how large this site is – I spent a couple of hours shooting mainly 30s-50s car wrecks… but there was another paddock of more recent vehicle wrecks… and really, there are car wrecks as far as you can see…
I started off shooting with my Canon 5D3, Canon 1V with TriX400, Contax T2 with Trix400 and XPAN2 with TMax100… Four cameras slung across me… And after I’d chewed through a few rolls of each film I switched and reloaded the XPAN2 and 1V with Velvia 100, just so I had colour film versions of lots of it…
Regardless it was physically & psychologically exhausting, being out in the bright sun shooting lots & appreciating the lives lived in all of these cars… Also had to think, what of ‘modern’ cars? Most are so crappily built they will likely just dissolve like epson salts within a decade… Not even memories to reflect on, let alone 1950s steel carcasses that will outlive us all…
Madly waving this sign around & pointing at the mics when a big truck is approaching is one of the more sucessful ones!
Recorded a LOT of doppler horns today on the Desert Road…
aim: DEATH to that fckng dreadful over used Truck Doppler Horn from Hollywood Edge Sound ideas or whoever it was that provided only one take… grrrrrrrr!
side note: a local policeman stopped for a chat,
15 min later he performed a lovely siren doppler for me
from way up the road…
i love NZ
second side note: had 3 lots of tourist pull up & stop within earshot…
what are you recording?
methink: FFS! WTF do you think i am recording!?!
mesay: i am recording, you are ruining it, please go away!
i also love being a tourist
but please do not assume everyone is a friendly hobbit
just quietly: please get far way from me
even your footsteps 100m away are intruding on my space
and there are plenty of other places to stop!!
later: 89GB of data backed up, ready for tomorrow!
In a 1980 interview, Jim Finch asked Harald to offer his advice to aspiring artists and technologists, and he responded:
todays field trip,
first to the National Library
i forgot what an awesome work of brutalist architecture it is
blew half a roll of film & almost forgot my mission…
which was to…
research viewing panoramic photos taken by R P Moore
with a Cirkut 10 camera in New Zealand 1921-1931
Bear in mind, the negative for each single image was 8+ foot wide
No matter how tall you are, you could lie down on top of one negative & not fill it!
1920s gixapixel tech FTW!
Staff were super helpful, and it was great to see a group of secondary school/college kids in there, gaining some invaluable research skills…
I’m particularly interested in a few negatives that have inscriptions on them, like this one:
Can’t wait for my next visit… to hopefully see the real thing!
& will bring my XPAN to shoot the brutalist exterior
▶ FACT mix 641 – Alva Noto (Feb ’18) – download at soundcloud
▶ Jon Hopkins – Emerald Rush
▶ Anderson .Paak x FKA Twigs x Spike Jonze
▶ Rrose & Lucy – Seeds of Discontent [EAUX]
▶ Rrose & Lucy – Inner Membrane [EAUX1091]
▶ Pinch – Walking With Shadows [PMAWS014]
▶ How to be a responsible music fan in the age of streaming
▶ ah so thats what the elements for the blaster in BladeRunner were!
▶ Slaves To The Algorithm: How Facebook is throttling underground culture
▶ a Rycote lens case, for microphones? perfect for all those Schoeps owners that change climates
▶ interesting, and maybe unintentionally revealing interview re ableton LIVE 10 – this bit stuck in my craw: “….instead of hardware” – read it & see what you think… do these people somehow think hardware is not an integral part of a studio? Working ITB is hardly news to anyone, but it is preceded by musicians working OTB for decades… And maybe it is news to ableton (I doubt it) but we are currently in an “OTB resurgence” of epic proportions. Seems an odd strategy given current events…. why was that statement not “….integreated seamlessly with hardware” If I count the synths/outboard in my studio, the ratio of what I use would be hardware to software 2:1 maybe 3:1…
▶ “There’s no more feeling of jumping into a whole new world on the internet anymore — everything looks exactly the same.”
▶ In Conversation: Quincy Jones – heh heh “Paul was the worst bass player I ever heard”
▶ I have zero interest in Cruise Ships – being trapped on a ship with a lot of other tourists sounds more like hell to me.. But wow!!! Guntu is a floating hotel in the Seto Inland Sea of Japan is incredibly beautiful, almost like a dream…
I spent an hour or so, wading in this estuary
shooting long exposures with digital
then revisiting each shot with the XPAN
Only problem was that the tide was going out
and the clouds were moving…
Less than ten minutes after I left,
it started to rain…
This would be my favourite new location
from all my recent travels
Fuji TX2/XPAN2 + Velvia 100
New HISSandaROAR sound effects library due for release next week, DIG!
Funnily enough this library came into existence due to an email – a friend was working on a theatre production and needed the sound of someone burying a coffin… I have recorded digging sounds a few times for films, but that was years ago… So I set to and assembled the tools (shovels x 2, spade, fork, crow bar, a stamper & a scythe) and the props (clay, soil, gravel, sand) and a wooden box that I could seal… Recording was via an MKH8050 close up, an MKH70 a bit wider and a pair of MKH8020 inside the coffin… I love the interior box perspective – Dave Whitehead and I did this years ago for a horror film The Locals, and got some great sounds from it, so it was a pleasure to revisit with better gear! Even when I was working a few metres away from the box, it still captured interesting thuds… Library release next week!
“Before the agents of this new unreality finish this first phase of their work and then disappear completely from view to complete it, we have a brief opportunity to identify and catalogue the processes shaping our drift to a new world in which reality is both relative and carefully constructed by others, for their ends….” – an important read: The Last Days of Reality
I love lagoons, estuaries and wetlands – they are such interesting environments for wildlife (thankfully there are no alligators etc in NZ) and sonically they are often beautiful and peaceful with the distant roar of the sea in the far background… The amazing aspect of this particular estuary was that the ground was solid and the water was shallow – I could easily walk as far out as I wanted. I tried the same approach in another lagoon and could not get far as there was such a deep layer of mud, even with gumboots on I soon became stuck… and struggling for footing while using an expensive DSLR and filters is a little stressy… Shot a lot of Velvia with my XPAN at this location too, can’t wait to see it!
Canon 5D3 + Zeiss 21mm ZE lens + Lee ND15 Super Stopper
25 photos shot with DJI P3P and Dronepan app
click image to view it large
or follow this link to view as a 360 on FB
▶ is Spotify toxic? ethically, and financially?
▶ this is not a table
▶ The case for and against vinyl in 2018
▶ Recreating Russulo’s Noise Orchestra
▶ “That is the way to learn the most, that when you are doing something with such enjoyment that you don’t notice that the time passes…” – guess the artist
▶ intriguing cam rig/movement (with score by Thom Yorke)
▶ Mana Island is the island you often see in photos taken from my house, its the primary view from my lounge window… So it was bittersweet to read the news of Nigels death, Nigel the gannet, who lived on Mana Island and had been cohabitating with a concrete gannet decoy… There is a photo of the concrete decoys in that article – they were installed in an attempt to attract gannets to start a colony on Mana Island.. Not sure why but when I first heard about it, I imagined a gannet falling in love with a blocky brutalist concrete gannet, as though the gannet had actually fallen in love with architecture, rather than an unresponsive concrete gannet clone… to the soundtrack below… Making concrete plans for Nigel… RIP Nigel
▶ Tom Waits ‘other instruments’
▶ just ordered Barcus Berry 4000 pickup #7 – they sound great… but not so robust 🙁
Very happy to have TANK RESONATOR finished & released – check it out at HISSandaROAR – 33% early bird discount expires Feb 10th…. Now, on to experimenting with DadaMachine and PercPro!
▶ FaltyDL – Small Room (Fake Smiling Faces)
▶ Heavenchord – Reshapes free download
▶ Kiasmos – Blurred (Bonobo Remix)
▶ love the new Nightmares On Wax album – Shape The Future – but there is nothing to share/embed!?!
So… take my word for it & go visit Bleep (love track 9 Deep Shadows and track 10 Gotta Smile)
might need a coffee before watching this!
▶ Obscurities by Kimchi and Chips, music by Murcof
▶ Ólafur Arnalds robot writing partners
▶ Fascinating conversation with Joe Walker, editor on Blade Runner 2049
▶ Blind listening test/review by Miles Davis
▶ “The Tvísöngur sound sculpture on the mountainside above Seyðisfjörður. These five interconnected domes amplify sound with a resonance that corresponds to traditional Icelandic five-tone harmony”
▶ This vid still makes me laugh, oh the irony (& yay Portlandia is back! But its the final series 🙁
▶ album covers – extended outside the frame
▶ inside Rolands Synth Museum via google maps
▶ Following ableton LIVE 10 Capture function, Avid introduces MIDI retrospective recording in ProTools 2018 so you can check out that album your cat is secretly working on…
▶ Stuart Klipper’s 5 Golden rules
1. Find your own vocabulary
2. Photography isn’t about photography
3. Know who came before you and what they did
4. Your equipment is only the toolbox
5. There are no rules
▶ Scuba – Laboratory Conditions
▶ Water Memory by Emily A. Sprague
▶ Erland Cooper – Maalie (oh that one string needs a retune)
▶ GoGo Penguin – Bardo
▶ Nils Frahm – All Melody, new album released today
▶ Debussys The Girl with the Flaxen Hair, performed by Sakura cello quintet
I’ve never had much luck growing corn – mine tends to not grow very big, if at all… and it is cheap to buy from supermarket, so this year I decided I’d plant some interesting species, for photos if not to eat!
I went to check on them just now & the plants are all dried up, so didn’t look like the cobs were growing to grow any bigger than they are now, which is smaller than the size of my hand… so as above I picked a few – love the colours of the red one!!
After I took the first photo I got out one of LED camera lights, and lay it on its back… and then lay some of the leaves from the red cob on top of it….
Canon 5D3 and EF100L macro lens
I’ve had a note in my endless TO DO list for about a month now, and am finally getting around to it!
At a guess I’d say I have about 120 bits of original music floating around my hard drive, all improvised or things I have saved or exported while working on something else… Some have had development work done, and have a clear future to them.. many don’t… but they all are potentially worth developing. But… its more fun to noodle around, starting new things rather than putting in the hard work to actually finish things. Hence the note above, its a small step towards a new modus operandi.
This process is related to one idea in the ableton LIVE MAKING MUSIC Book – specifically the CATALOG OF ATTRIBUTES although it is aimed primarily at building a database of references to other peoples music, so as to help clarify direction by referencing specific attributes (the tempo of this song, the bass sound of this song etc etc) – I don’t need that help, many years of listening and playing and thinking mean I know what direction/s I want to head in. But the process is useful to get an overview and to track individual musical ideas.
Here is the plan:
Any time a new bit of music is started, it must be logged into a database, at the time or soon after.
This database will have standard technical notes: key, tempo, instrumentation/elements etc as well as a few descriptive comments and a few comments about direction and evolution. But it will also contain a link to a rough mix of each piece of music. The aim being to still allow myself to improvise and write freely, but simultaneously add to this database and have an overview on individual music pieces as well as overall projects…
I tend to create music via a few different means
1. playing and experimenting in Ableton LIVE
2. playing and experimenting in ProTools
3. playing acoustic instruments
4. playing electronic instruments
Anything I start in LIVE or ProTools is fairly easy to manage, although I am also getting into the habit of printing external instruments (eg a recent dubby tune started in LIVE has some organ from my Korg SV1, so I retain the MIDI but also record the SV1 to audio, so the session is self contained and doesn’t rely on me recalling the external setup/patch or my intent or memory of how it sounded. I am also forming a new habit of printing or freezing virtual elements, I went back to an old LIVE session a while ago only to discover the developer had discontinued development of the instrument plugin and never upgraded it to 64 bit so it would not work in latest ableton LIVE. It was somewhat painful nervously downloading 32bit LIVE hoping it would then work….)
As a minimum I always record improv on acoustic instruments to my little Sony D100, so whether its playing vibes, marimba, melodica, drums, guitar, bass or whatever I have trained myself to always be in record. A few times in the distant past I have found a great melody or something, and had to go find a recorder, only to get distracted and lose the melody or feel of the piece. Ideas can be so fleeting, if you aren’t already recording then you risk losing them. Sometimes I even resort to whistling a melody eg if I am driving, but the goal is always the same: capture it for future reference & development. Occasionally I will properly mic up an instrument, but regardless each of these recordings will go into the database. And as a part of this process I will also convert each of these acoustic improvs to MIDI using Melodyne.
Effectively the same applies to improv from electronic sources. I have my modular synth set up now with its own MOTU 828 interface, so I can capture 8 channels of audio from the modular. Whether or not the modular or any other of my synths is clocked to ProTools or LIVE varies a lot, often not… but regardless that material ends up in the computer. And the database.
I’ve started my database in Filemaker Pro, but theres nothing particularly necessary for it be Filemaker – data is data, can export it to any better platform if one is found.
If you are a musician or composer do you do this? Or something like it?
The need becomes more obvious when there is a finite project underway eg an album or something. But just as i stash written ideas and save photos and design ideas into a database, it seems like a step that should be a permanent part of the creative process, regardless of the medium.
The upside to this process is rediscovering long forgotten fragments of music, often recorded late at night etc… Stashed but not forgotten!
Four Bricks Rook module just arrived from Shakmat Modular in Belgium, such great design!
▶ GORILLA MODE- What Amazon means for the rest of us
▶ interesting app: XronoMorph is a “free OS X and Windows app for creating multilayered rhythmic and melodic loops (hockets). Each rhythmic layer is visualized as a polygon inscribed in a circle, and each polygon can be constructed according to two different mathematical principles: perfect balance and well-formedness. These principles generalize polyrhythms, additive, and Euclidean rhythms. Furthermore, rhythms can be smoothly morphed between, and irrational rhythms with no regular pulse can also be easily constructed”
▶ Bleep 100 tracks of 2017 – some new favourites!
▶ love his comments about ‘style’ – very relevant to film sound design…
▶ Denis Villeneuve’s Top 8 Films Of 2017
▶ via the mention by Villeneuve above, I am late to the party but these short films by Neill Blomkamps Oats Studios are quite amazing! Volume 1 – Rakka is embedded above, watch full screen with decent speakers (Seal Vocal at 17.03?) and check out the others on Youtube
▶ this is so beautiful, it almost feels like a hoax/fake history: gorgeous work by artist Thomas Wilfred (b.1889) whos primary medium was light – love the descriptions of his performances as “Cadenzas of Color,” “Symphonies of Silence,” and “Unexplored Sensation.” Check it out here
▶ great life advice for 2018
▶ Nice interview with Nils Frahm about his new studio at Funkhaus
▶ Spotify, about to launch public IPO and sued for 16billion! Relatedly there was a great discussion on Twitter recently, initiated by someone asking musicians what their returns from Spotify were… but I can’t find it now, anyone remember?
▶ a vinyl selection by David Bowie c2003
▶ Business Skills for Artists is a professional development curriculum designed to teach business skills to artists in all disciplines — the Work of Art Guide and Workbook are available for free HERE
▶ interesting concept: The main reason for this project is to provide the artist with complete anonymity
▶ infamous DOP Christopher Doyle in his own words
▶ quite a beautiful modular synth desk reminds me of Radiophonic Workshop
▶ “…it’s like London buses. It had got to the point where I was going to give up, that was it when it happened. I find that happens a lot in life, with various things, it’s when you take it to the point that you think you can’t take it anymore, that’s when it finally happens.” – guess the artist
▶ the social dramas of Kokako (native NZ bird) on Tiritiri Matangi (bird sanctuary)
▶ inexplicable Japanese commercials
Gorgeous sound from a pair of MKH8020s inside the tank – suspended in their Rycotes, upside down on arms, held in place by Manfrotto Super Clamps (with high tech string failsafe!)