"Again, going back to Eno and his Oblique Strategies card, “Honor thy error as hidden intention.” I’m a great follower of that. I think that magic comes through those little moments that someone might perceive as everything going wrong. That’s actually an opportunity to take things in another direction. Maybe it’s like the Leonard Cohen line, “There is a crack in everything. That’s how the light gets in” [from “Anthem”]. It’s great. I’ll give you an example…
"I had a little pocket calculator and was working out some sums. I did a couple of figures, and it made this little melody. I thought that was great. It became the melody. I actually put a mic on that pocket calculator. It’s all around us, there just to be seized. If you’re not tuned in, it’s just noise. But the more you tune in, the more you hear it."
Naviar Records haiku project this week prompted me to reflect, not so much on the message as the reflections.
Recently I read of an audio demonstration that created a bell-like effect on a vocal recording by recording the piece being replayed in the room where it was recorded. I've tried to do something like that here using a modeled studio, as well as some crazy reverb. It didn't really work but neither did the idea I tried earlier in the day, so this is what I've got.
I like the sense that the drifting apart is heard in the increasing reverb, with its implied emptiness.
Labels: Naviar haiku
Naviar Records' laboratory started a new experiment this week, asking musicians to respond to a short story by HP Lovecraft.
Unlike my usual approach, I decided to take the inspiration literally and attempted to record a violin part via MIDI. The sound of the instrument comes from Ableton Live's suite. Like my usual approach, I recorded a single-take and edited it a little, including copying and pasting the MIDI to drive Absynth's demented string preset.
During the recording I was surprised to start thinking about playing in pitch blackness, so I closed my eyes and imagined a wind blowing through the room as demon lurks in a corner. Unlike Lovecraft, I reveal the supernatural musician at the end with a few solo notes.
For some reason it took a while to follow the Disquiet Junto instructions to make a single track with three different parallel lines this weekend. It might've been because I decided to use a slap and a moan as the sample material.
It's a sound I'm very fond of hearing and the percussive aspect appealed to me for rhythm. The moan from my partner and "oh yeah" from me also provided varying tones, although mostly the track is built around the slap.
On Saturday morning I started experimenting with an ambient foundational bed, which ended up working better as a bassline. By afternoon I was adding loops from our voices for a melody but it pretty much just went "yeah" and "oh yeah". The distortion on the bass obscures it.
I think it strayed a bit from the Junto instructions but I sorta like the result. It's hot. I'm biased though, I've been conditioned to respond to the sound of a slap on the bum.
Following my mix of eight tracks in eight minutes, I've continued marching into my archives this month to produce a couple more Bassling megamixes.
Both are from last decade, particularly 2005-08 when I was living outside Wagga Wagga. The seven-minute mix above features 'the wires', while the six-minute mix below has a few tracks from the SHAKES album of 2004. Both have theremin.