I have begun working on my piece, advancing on the score I made last week. The idea of rear listening and making it the forefront of the piece remains. I began by finding a clip of a trimmer sound, pitching it down, adding some distortion and panning a reversed copy to left and right channels at the back. This created a sense of urgency and a sense of awareness immediately that I was aiming for.
I then copied the audio from the processed trimmer and turned it into midi, using those notes to play using a synth that also had a buzzy characteristic to it. Being the early stages, this was as far as I got – I mostly tried to listen and see what I wanted to continue doing analysing how it sounded on the system. I still want the piece to be more conversational and play and interact between the rear end speakers and front speakers.
Although very rough right now, the basic idea and bare bones of the piece have been laid down. I mainly focused on implementing the rear audio sounds for now as I do not really have an idea of what I want to do yet for the sounds in-front.
In todays session I did some foley recording for the animation Tir Nan Og. I picked a minute long scene and as a group we used different objects to recreate different sounds in the scene. We began with the creaking of the wooden dock and used a wooden plant and some bamboo sticks to recreate the sound – bending and contorting the objects to get the desired effect.
We then did this multiple times and layered it over each other to create more in depth and thicker sound field. For the footsteps, we stepped on the hollow plank of wood in time with the steps of the main character. We also recreated the sounds off the ruffling clothes using Raul’s coat and movement, making sure not to clip the sensitive condenser mic. We had to adjust the gain multiple times for different objects as they were all so differently dynamic in terms of sonic volume and depth.
Doing so has allowed me to build a narrative image and even though i will not be using any visuals, I gained a sense of experimentation with different foley material. It enabled me to think outside of the box in terms of the sound I could use as well as helping me to construct a sonic narrative in my head.
I saw where I would be able to build up momentum, fade out certain areas and create a real conversational piece that would fit the plan I had. I had a thought about certain recording I could use to further develop the piece later, maybe more mechanical sounds for the rear audio and more natural sounding, calm recordings for the stereo.
The inceptions of my concept begin with the idea of listening from behind – the feeling of something being behind you. I want the piece to heavily engage with the idea of anxious listening and for the speakers at the back to dominate the space whilst the front speakers are drowned out – almost “running away” from the sounds behind. The picture below represents a graphic score – only revealing the rearview for ease of display -showing the nature and effect of my idea. The inner semi-circle represents the audience and the three patterns on the sides are the three rear speakers. I pictured something invasive, restless and uptight.
Below is the live draft of the piece, with both wide speakers using a trimmer connected to a contact mic and a distortion amp. I haven’t decided what the other sounds would be however I have come to a conclusion on the nature of the sounds with the middle rear speaker also playing a large, dynamic sound. The front two speakers would be playing more higher-pitched tones.
Using the sampled xylophone sounds, I used the EXS24 sampler in Logic Pro X to map it across a keyboard. I found that inserting chord was difficult and didn’t know what chord progressions to use. I eventually came up with the idea of converting audio to MIDI in Logic using flex pitch. I then used the midi chords and put the pattern into the sampler creating a chord progression. I then used automation to increase the amount of echo as the piece progresses to enhance the ‘trance’ like and calming element of the piece.
After recording all the parts I needed, I had to work on the order of the composition to reflect the context – to go from very chaotic to calm. I used the initial recording of my walk in Southbank and paired it with a drum to provide some rhythm, I then used tempo automation to slowly decrease the bpm to 60bpm to represent the rhythm of a heartrate at a calm pace. I felt like this change of pace truly reflected the feeling of moving from a place of sonic business to a place of sonic sereness especially with the slow transition using both recordings. I also used the sound of a car starting up as a riser/transition between the two parts allowing for a smooth change of pace to reflect the way in which sound changes when walking through London as opposed to a quick and abrupt rhythmic change which may be seen in music.
The track contains very little low-end bass notes. This was not intentional, most of the recording contained more higher-end tones creating a very natural/non-synthetic feel – especially for the second part, using atmospheric sounds and reverberations to enhance the idea of a spatial environment
Using the volcas we scored to some film without any pre-preparation or practice. I was familiar with using the volcas on a basic level however, I was given a different one to one I had used before – adding another level of volatility to the scoring. We were initially given something very abstract and so scoring against it was very open ended, i found that my first initial reaction was the best one. There was something really organic about doing something without any intital preperation – (something i would also do later in a future performance).
We then moved onto more narrative based films, with loads of different cuts and edits and fast paced action. I found this one more difficult – but of course it didn’t need to be perfect, finding little moments that turned out good at the end and creating something larger with the amalgamation of little pieces. I found using the filter along with the LFO’s allowed for very quick change during scenes.
I really enjoyed seeing how each group incorporated different techniques within the scoring – in the heat of the moment. It was interesting to the different ways in which each team responded to an action on screen and how they used the volca to enhance a vital moment e.g someone falling over, a extreme jump etc.
I think when creating there is always a level of spontaneity. Recently, whilst sitting in a park I randomly decided to record some atmosphere which I felt would work with my piece. With this came a level of uncertainty and not really knowing what would happen within the atmosphere that would be included within the recording.
We learned how to effectively use panning in Ableton, experimenting with multiple forms of the effect as well as mapping it to a keyboard knob to use panning efficiently. I will say this was something I was very familiar with already, however, using it in Ableton was something very new. I feel like I would need to go over the techniques I used again to be able to use them purposefully.
I found being able to map the panning so you could control at what angle the amount of effect was pushed through at was really interesting. I was able to make it so at anywhere before halfway it would pan left and then once I pushed the knob past halfway it would pan right. Using this with two at the same time allowed for more communicative ideas.
We also learned about binaural and surround sound – something I haven’t really used it before. Starting off, we were given the task of using our phones to play a sound at different places around our heads. I chose the sound of rain which I felt would accurately represent a sound I am familiar with.
I found that at some places rain sounded very unusual to hear (right next to my ear) – especially because I hadn’t consciously thought about the sound of rain that close before, whilst when it was above me it felt very familiar as that’s the place in which I was used to hearing it come from. I found out how effective surround sound could be and how different it was to just listen to music/sound in stereo.
I also found out how important the origin of the sound is in the surround sound atmosphere. We listened to different pieces that used atmosphere effectively such as Kraftwersk -Autobahn and I found how entrancing the use of effective surround sound along with warping synthesis was.
“…while the marimba, xylophone, and vibraphone were highly ranked for Happy.“
(Chau, Chuck-jee, 2016)
For my piece, I decided to record some xylophone, specifically the xylophone in Canary Wharf – a place I associate strongly with my piece as it represents a place of calmness and tranquility that I aim to convey with the piece. I wanted to make use of music concrete, and this seemed like the perfect way to do so.
As I was capturing the sounds of the xylophone, I also captured surrounding atmosphere sounds such as people talking, birds singing, etc which I felt enhanced the very minimal and natural tone I wanted to achieve. This will later be used in a sampler to play and accompany other forms of instrumentation.
I used the midi pattern from vocal percussion by converting it from audio to midi and using the pattern to use sampled xylophone notes. Although I recorded Initially I only used one note from the recording I did but decided to change it and use all the notes and map it to the sampler.
Following up from my recording session in Canary Wharf I did some audio recording in south bank – walking from elephant and castle station to the London Eye. I noticed that these audio recordings are a lot more chaotic, static and dynamic compared to the other two, with vary quite parts and loud parts. There is more conversation, car noises and sound moving at different paces. It definitely a change of pace from the other recordings and will be interesting to see how it fits into the piece.
I chose this specific route as it was the route i did my first sound walk on and a route i find calms me. It’s a route that changes in sonic dynamic as much as its physical dynamic – passing under bridges, through tunnels and different alleys. You see how with the movement of different atmospheres, voices and sound reverberate and echo more. As i draw closer to various drones and echos they become louder and more prominent. Its very interesting to the movement between more industrial manmade sounds to the transition to birds singing, less car noises and enquiring stillness.
The sound recording is around half an hour long, so i will have to cut out certain parts that probably don’t reflect what im trying to achieve as much. Im still figuring out whether or not i should include the more chaotic parts, perhaps it would add an interesting twist into an otherwise very minimal piece. I think the recording is an intriguing outlook on Londons sonic environment – a cluster of industrial noises that overtake snippets of stability.
“In 2015, composer Max Richter worked with a neuroscientist to create Sleep, an eight-and-a-half-hour, night- long concept album, or “personal lullaby for a frenetic world and a manifesto for a slower pace of existence”, as he put it. Sleep’s release was accompanied by listening sessions in which the audience was given beds for the night: for one, Richter and other musicians performed the entire piece live (setting two Guinness World Records for both the longest live and longest radio broadcast of a single piece of music). When I went to a Sleep playback event—a pyjama party of sorts on a shop floor—the experience was profound. Listening back to the record, I realized that I’d heard less than ten minutes of it, instead dozing into the longest snooze I’d had in years. Maybe that was its scientific alchemy; maybe, too, it’s the product of listening with a rare intensity and purpose.“
I found this specific paragraph from an article on calming music by elephant. It mentions the composer Max Richter who creates the piece ‘sleep’ where the therapeutic nature of the music is vital element behinds it’s natively genuine feel.
As someone who’s first MIDI keyboard was a KORG – It was extremely interesting to see the context behind the creation of one, as well as the man behind some of the most famous KORG keyboards for the brand. With the introduction of the small and portable MONOTRON Takahashi was able to stamp his influence into the company by making music making more available to the general public. I felt like it was interesting that I had previously used the Volca’s in class without knowing the context, person or environment behind their creation.
As a consumer i didn’t question where the product had come from or how it had gotten to the stage it did. With the development of the monologue, Takahashi had the chance to work with an artist, which is also something i find very interesting – the production of probably of the best synths was made with collaboration with an artist, whilst all the others had been made from an engineering and accessibility standpoint.
In 2017 he left KORG to work at YADASTAR and got a chance to work with Ryoji Ikeda who used a sine wave oscillator to compose a piece using car speakers called ‘A’ using multiple variations of the note, sequence them and into a composition. Takahashis shift from mass production to more rare objects shows a level of SoundArt in and of itself – a shift to more artistic venture.
In 2019, Takahashi started at KORG Germany. I really like the use of mycelium as a alternative to polystyrene – wondering whether or not it could be used for other music making devices. Takahashi talks about the idea of Narcissism vs Commercialism – creating a change of pace from the average profit based music making organisations. Its a breath of fresh air to see someone who’s love for creation takes precedence over consumerism.
Hip hop or rap music, is a music genre developed in the United States by inner-city African Americans in the 1970s which consists of a stylized rhythmic music that commonly accompanies rapping, a rhythmic and rhyming speech that is chanted. It developed as part of hip hop culture, a subculture defined by four key stylistic elements: MCing/rapping, DJing/scratching with turntables, break dancing, and graffiti writing. Other elements include sampling beats or bass lines from records (or synthesized beats and sounds), and rhythmic beatboxing.
Janine Francois explores Hip-Hop as a genre that disrupts the westerns colonial linear routines – by artists who grew up in a post-colonial environment. Janine highlights how the transatlantic slave trade plays an important part in the expression of hip-hop as well as the discrimination against black people – both racially and economically within western inner-city environments. Without this trade the existence of hip-hop as we know it may not have existed. Enslaved people were stripped of their culture, customs, religions and identities and forced to adopt European names, cultures and religions by white slave masters, which shapes the identity of Hip-Hop.
Music has continued to be an important venue for the expression of Black politics and the denunciation of racism and colonialism into the 21st century. Two of Fela Kuti’s children, Femi Kuti and Seun Kuti have continued to use afrobeat as a venue for expressing Pan-African, anti-colonial politics. In the United States, hip hop artists like The Coup, Immortal Technique, and Kendrick Lamar have continued to produce politically charged music, picking up where groups like N.W.A. left off.
One of the things I learned about was the use of the drum is a motif of African rebellion – showing how important it is in the development of breakbeats and rhythm that’s so prevalent in hip-hop. The tempo of the drum is usually what shapes the genre – some of my favorite songs using samples using Jazz or soul breakbeats e.g The Notorious B.I.G. – Suicidal Thoughts uses the drums from ‘ Outside Love ‘ by Brethren.
