Detritus 307

 

> 38 Wonderful Moments In Closed Caption History #funny

 

> a great ad for effects processing?

 

> oh to have a few well placed contact mics on these machines!

 

> love these sushi plates

 

> inside the Paris home of Pierre Henry (thanks Miguel!)

 

Walking City from Universal Everything on Vimeo.

winner of Golden Nica at Prix Ars Electronica 2014 by Universal Everything

see other winners here

 

> great overview of Foley via a PDF article by Benjamin Wright (thanks Peter!)

 

interesting sculpture (or youtube/facebook/soundcloud like generator?)

 

> love this beat shelf

 

> Ted Talk: DIY Orchestra of the Future? (thanks Carolyn)

 

> The long slow vanish of Britains illustrious recording clubs (thanks Grant!)

 

> some beautiful work via the Sonic Arts Award 2014

winner of the Sound Art category: David Hochgatterer, TIME TO X

TIME TO X is a 96 channel sound installation that transforms the fourth dimension (time) into a geometrical dimension (x). The listener can physically move in time and has the possibility to experience audio in a new way.

 

winner of the Digital Art category: Tim Murray-Browne – The Cave Of Sounds

The Cave of Sounds is an interactive sound installation exploring the power of music to bind individuals together and the visceral urge to use technology to broadcast our identity. Inspired by the prehistoric origins of music as unifying force, the work is formed of eight original musical instruments. Created during a ten month residency at London’s Music Hackspace, each instrument has been designed and created by a member of that community as an embodiment of their own artistic practice. But although each instrument is personal to its creator’s artistic practice, every few weeks we have met up to explore and understand each other’s ideas, and our place within the ensemble as a whole, in a process analogous to a ten month jam session. The final ensemble encapsulates the balance between individual and group expression that we practise when we create music together.

In the hands of its audience, the work is crafted to provoke participants to connect and resonate with each other through musical expression. Visitors are free to experiment with the instruments, and experience first-hand music as a means of actively connecting with those around them to construct a shared creative space. Arranged in a circle with the instruments facing inwards, music here is not created for an audience. Like the process behind the work’s inception, music is an activity we do together rather than something we consume from others. Software linking the instruments gently adjusts their sounds to converge musically as well as detecting musical connections between participants and visualising them onto a central projection.

 

Mention/highly regarded Sound Art category: Kathy Hinde – Piano Migrations

The inside of an old upright piano, is recycled into a kinetic sound sculpture. Videos of birds are projected directly onto the piano to provide an ever-changing musical score. The movement of the birds trigger small machines to twitch and flutter on the piano strings. In this work, nature controls machines to create delicate music.

 

see other finalists/mentions here

 

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Plasticine

A week or two ago, someone somewhere commented on a post I was reading, quoting Eno using plasticine as a metaphor for an element of his approach to music production. I appreciate this is pretty vague, but bear with me… Some time later I remembered the quote & went digging in google to see if I could find the source of the quote. I didn’t succeed but I did find this interesting quote via google books:

plasticine

The quote is from this book: Strange Sounds: Music, Technology and Culture and relates to a discussion at CDM on why we love hardware for music production

I totally agree with some of the comments by the Stereolab guy in that book quote, but I think it also has something to do with another form of ‘control’. In software everything is controllable & remembered, and while this is often sighted as a blessing I rarely read mention of it also being a curse. The most obvious example is with regards to the use of delays: one of the many reasons I love Space Echos is that there is no automatic tempo sync – they must be dialled in by hand & by ear. And a vital part of that process of dialling in delay & feedback settings is that it is a process of discovery & happy accidents.

For me that process is creatively the direct opposite of starting in a perfect state & attempting to dial in “out of time-d’ness” from a perfectly tempo matched delay. Now of course no one insists that you must always use tempo sync, but with a lot of software it seems such things are default. And as mentioned in this deeply fascinating thread on MW by one of the leading & earliest developers for Eventide, despite people having access to a machine of infinite possibilities (e.g. H3000) only a small percentage of people ever used anything other than the default programs. While that also says a lot about how great the presets were/are it is also a different reflection on the role presets (and default settings) play in the creative process, and the more default settings there are the more insidious that role becomes.

 

Also from that MW thread, I LOVE some of the incredible gems of wisdom he mentions in passing:

“Easy to get lost in the endless parade of ‘I can so I will’. Instead of ‘it needs it so I will do it’. Lets not polish every ‘scholars rock’ into a shiny round pebble.

& re ilok:

“To pay for the privilege of having a company treat me as if I were already a thief does not sit well with me”

amen, brother!

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My new BFF

binaural

One of my constant searches/google alerts for years has been for an affordable binaural dummy head rig, not because I had an urgent need, more out of interest & a desire to experiment with the medium (without having to spend US$8k on a Neumann rig).
Then a month or so ago I received a random phone call from a young woman who is planning a project which in terms of audio will be totally binaural. As she outlined the project I became more & more interested in the concept behind it – I can’t go into details about the project yet, as it is still deep in development, but as my motivation for experimenting with binaural recording grew, the universe eventually responded & now I am the owner of this vintage Sennheiser dummy head:

binaural
(photo by previous owner, thanks Dan in Melbourne)

First released in 1974 the original Sennhesier model MKE2002 came with a pair of omni mics and required the wearer to have a mullet for proper use. But times have changed, mullets come and mullets go, and while I bought the dummy without its original mics, I already had a plan in mind to use my DPA4060s instead. The original mics had a 9V power supply… that chin attachment is quite strange, which might account for the strange look on the face of mr mullet. The manual for the Sennhesier MKE2002 is here

binaural

But as always the proof is in the results, so before I go making any great pronouncements I will do some tests & see how well it images binaural sound with the DPA4060s. Here are two demos from the original model, hopefully it goes without saying but these require headphone listening for full effect.

I posted some photos to FB and asked for comments on peoples experiences with playing back binaural sounds on normal speakers and a few helpful people provided valuable insights, so I hope they don’t mind me quoting them here… (Please feel free comment if you have experience with binaural recording, first post is moderated so there will be a delay before it appears)

Joseph Fraioli: I find that speaker playback imaging varies depending on which mic system you use. The Neumann imaging sounds great on speaker playback, though with the dpa 4060 setup on headphones it’s amazing, while there’s a bit of a whole in the center on speakers.

Sebastian-Thies Hinrichsen: The Neumann KU8i is built for being mono and speaker compatible. It also has more “mids” than the newer, more neutral sounding KU100 (I tested it in January for my online magazine FieldRecording.de)

Thanks Joseph & Sebastien!

One test I have in mind is to set it up in my garden & then slowly walk around it in 360 degrees, while making pretend insect sounds with a shaker. The dummy head has a mic stand mounting socket on the base (ewwww, where the spine would be?) so once I am confident with the mic placement & trust the mics are secure I am keen to try it on a boom too – literally putting my head & ears into places that are not necessarily safe or feasible for them to be.

Let the experimenting begin!

 

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Remember?

Pidia

 

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Happy Birthday Len

Len Lye (5 July 1901 – 15 May 1980) would be 113 today – happy birthday Len!

I think he’d be thrilled to know the Govett Brewster (home to his archive of over 18,0000 works/archived items etc) is well underway with the the construction of the new Len Lye Centre in New Plymouth, due to open mid 2015!

If you don’t know of Len Lye (do a google image search!) he was one of New Zealand (& the worlds) pioneering artists in forms including kinetic art & direct film (‘composing motion’) as well as painting – imagine seeing this film, projected (Free Radicals, 1958)

Then think about the creative process: scratching onto tiny 35mm film frames, one by one, articulating three dimensional movement & syncing tightly to both the rhythm & the feel of the music…

In an interview with Wystan Curnow in 1978 for Art New Zealand magazine he describes his approach to music:

“I don’t think we’re going to get any music that I’m going to like until we get back to figures of rhythm. Like I heard when I went down to Africa House and went through all the records. Then I heard some real music. I know we’ve got to get back to it because the other stuff you were talking about this ideational art, conceptual stuff. Well, that’s how our music is, too. And it’s always been like that. Cage is a very good example of it and without being surrealistic. Pierre Boulez is a very good example of it. It’s just an intellectual level operation. What we need is the body into the act. Drums have got a kind of body resonance to them that nothing else has. I think it’s the heart quality of resonance – as distinct from your bloody skull resonance, you know. These guys are banging their marbles about in their skulls.”

And the tragic tale of finding, buying & then losing a crate of those african 78s:

“But I’ll give you an instance of my life with records. I’d heard that there were some good African records in Africa House. This came about because a friend of mine, Ivor Montagu, who produced with Hitchcock, was going to do a thing with Rider Haggard’s – Paul Robeson in the lead – and he started to rummage around and he found all sorts of African stuff which might serve as background, or be of use to whoever was doing the music.(10) So, I learned about these and I didn’t have much money but what money I could rake together – 20 pounds or something, – I decided I’d buy everything in the goddamned place. That 20 pounds would cover it. Well, it certainly wouldn’t. They had a room full of records. Stacked in little shallow cardboard cartons – 10″ stuff – tier after tier. They must’ve had thousands of records. Now, apparently, they went to Transvaal, to Kenya, to this, that and the other, – every possible part of Africa. And they did this. Old 78 speed. Amazingly marvellous records! They were technically beautiful! So I went through – to make my money last – I could see I’d only get, oh, one hundredth of what they had there – I went through everything! I took about two weeks. I came out at night with my eyes bugged, and my ears shot. Bloody headache. Stagger home. Go to bed. Get up next morning. Get another go. See? OK. All those records were stolen from me when I landed here. Yeah, there was a trucking strike on and they stayed around the Customs and someone must’ve just taken the whole crate, not knowing what’s in it. I often wondered if I’d ever hear them on radio, but I haven’t heard them yet. But I should think you could go there again and they’d still have those records. What the hell would they do with them?”

His kinetic sculptures are as much works of sound, as vision – if you live in or visit New Zealand, do not miss the opportunity to experience some of his work!

“the point I’m going into in this long-winded way is simply that my sense of sound, like any artist’s when he’s imbued with technically transferring something out of his innermost self on to, into his medium – on to canvas, on to film, you must be communing with your intuition about significances.”

The Govett Brewster Gallery has an online store with most all current DVDs & books available here and this quote sums it up perfectly:

smthng

Happy Birthday Len!

 

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