gabber gabber her her
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woops
is not like other people
will a mummified modular mushroom ever create something that resembles this?
the answer, my friends is an unqualified NO
the answer, my friends is an unqualified NO
bassbeyondreason
Chtonic Fatigue Syndrome
The Sonification-Industrial Complex, it's a real funding hoover.
Murphy
cat malogen
the vocal version even less so!
bassbeyondreason
Chtonic Fatigue Syndrome
Literally any series of numbers will produce passable ambient music.
bassbeyondreason
Chtonic Fatigue Syndrome
Reminds me of one of my favourite Wire reviews:
Hannah Rickards Thunder MEDIA ART BATH LP
Hannah Rickards has hit upon a fascinating technique: she digitally transcribes recordings of natural sound so that performers can mimic them, and then re-encodes the results. With her Birdsong project, she slowed down recordings of garden birds to a point where she could copy them with her own voice, and then speeded up the recording again. On Thunder, she timestretches a single rumble of thunder to five minutes and had composer David Murphy score it for an eight-piece ensemble. The performance is then recompressed to a few seconds, creating an orchestral analogue of the original sound. That takes care of the how; the why is another matter entirely. The transcription is a fairly entertaining, tightly scored and deftly performed piece in its own right, but the resulting pseudo-thunderclap is truly pathetic. What I think has happened is that Murphy and Rickards have copied the digital artefacts produced by a computer with insufficient power to do the job (and which would have been present whatever the original sound had been – a dog barking, say, or the sound of an Arts Council funder signing a grant cheque).
Hannah Rickards Thunder MEDIA ART BATH LP
Hannah Rickards has hit upon a fascinating technique: she digitally transcribes recordings of natural sound so that performers can mimic them, and then re-encodes the results. With her Birdsong project, she slowed down recordings of garden birds to a point where she could copy them with her own voice, and then speeded up the recording again. On Thunder, she timestretches a single rumble of thunder to five minutes and had composer David Murphy score it for an eight-piece ensemble. The performance is then recompressed to a few seconds, creating an orchestral analogue of the original sound. That takes care of the how; the why is another matter entirely. The transcription is a fairly entertaining, tightly scored and deftly performed piece in its own right, but the resulting pseudo-thunderclap is truly pathetic. What I think has happened is that Murphy and Rickards have copied the digital artefacts produced by a computer with insufficient power to do the job (and which would have been present whatever the original sound had been – a dog barking, say, or the sound of an Arts Council funder signing a grant cheque).
mixed_biscuits
_________________________
Birdsong sounds cool tho
bassbeyondreason
Chtonic Fatigue Syndrome
william_kent
Well-known member
old hat, Messian cornered the market years ago
Olivier Messiaen 1908-1992: Messiaen's use of birdsong
Messiaen on birds
I'm sure I've posted the one above in another thread at some point, but always worth a watch for the unhinged enthusiasm on display
edit: went on a day trip to a seaside town recently, scoured the charity shops and got a reasonable haul, but now I'm regretting the number of "sounds of birdsong" field recording LPs I didn't buy ( because when am I going to ever listen to those? ) and now I realise I could have run them through ableton and got five star reviews in The Wire, kicking myself for sure...
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blissblogger
Well-known member
this is my fave piece of avian-garde musik
from an unfindable cassette, self-released by the Aussie sound art / field recording stalwart Ron Nagorcka
ah but turns out it was properly reissued last year, with another tape on the "flip"
"Ron Nagorcka (1948) is a composer, performer, and naturalist. In 1988 he moved to a remote forest in northern Tasmania, where he built his own house and solar-powered studio (some fascinating photos of his home-studio are present in the booklet attached to this release).
This CD collects his first works recorded in his forest residence in Tasmania, his music sites on the borderline between documentation and the fictional landscapes.
"Are among the strangest, most fascinating, most intense field recordings based works and an essential chapter in the history of Australian experimental music.
"I can only hope it will encourage people to discover for themselves the mysterious harmony that is wilderness." Ron Nagorcka 1988
from an unfindable cassette, self-released by the Aussie sound art / field recording stalwart Ron Nagorcka
ah but turns out it was properly reissued last year, with another tape on the "flip"
"Ron Nagorcka (1948) is a composer, performer, and naturalist. In 1988 he moved to a remote forest in northern Tasmania, where he built his own house and solar-powered studio (some fascinating photos of his home-studio are present in the booklet attached to this release).
This CD collects his first works recorded in his forest residence in Tasmania, his music sites on the borderline between documentation and the fictional landscapes.
"Are among the strangest, most fascinating, most intense field recordings based works and an essential chapter in the history of Australian experimental music.
"I can only hope it will encourage people to discover for themselves the mysterious harmony that is wilderness." Ron Nagorcka 1988
wektor
Well-known member
t
foggy but shiny.
very eccie energy from all that pitch gliding/delays. very in the style of one of my favourite production periods in polish trap.
foggy but shiny.
very eccie energy from all that pitch gliding/delays. very in the style of one of my favourite production periods in polish trap.
wektor
Well-known member
as requested
now this is REAL SHIT, not some sonification many to many data mapping bollocks:
blissblogger
Well-known member
not what you are talking about, but reminded me of Scott Walker on one of those later, hard-going albums, using meat as a percussive instrument - or rather, not really percussion, just recording the sounds of a pig carcass getting slapped and wacked and using that on a track
Sort of out-Swanning the Swans or out-Neubauten-ing Neubauten (didn't Blixa Bargeld mic up his chest and having one of Einsturzende pound against his chest, and various other visceral sound sourcings)