Looking back - *My last album of music was put together in 2014 and I've produced so much more material since then in differing directions.* One of the approaches tha...
I never decide if an idea is good or bad until I try it. So much of what gets in the way of things being good is thinking that we know. And the more that we can remove any baggage we’re carrying with us, and just be in the moment, use our ears, and pay attention to what’s happening, and just listen to the inner voice that directs us, the better. But it’s not the voice in your head. It’s a different voice. It’s not intellect. It’s not a brain function. It’s a body function, like running from a tiger.
This video features percussion isolated from the track below. I'm working on a full video that will debut at the screenings I'm organising in Leeton next month.
Ableton Live has this FANTASTIC feature where you can manipulate the audio of video samples as easily as just audio and then export video with basic edits. I think they updated the codecs it'd accept in version eight but it still seems limited to standard definition, which is a great start. I'd really like to see them improve what the program will export, such as reversing footage when this is done to the audio.
Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination...
Select only things to steal from that speak directly to your soul. If you do this, your work (and theft) will be authentic. Authenticity is invaluable; originality is nonexistent. And don’t bother concealing your thievery—celebrate it if you feel like it. In any case, always remember what Jean-Luc Godard said: “It’s not where you take things from—it’s where you take them to.”
Here's an early experiment with material recorded at the park my kids have named for the purple dinosaur. I'm working through my park recordings and generating new material to screen next month. This is okay, I've already got a couple of reservations but I've also already got another remix underway too.
Below is a remix of Dinosaur Park in a techouse style from a talented Belgian producer.
Knowing that my neighbour Corey plays drums, I invited him to try playing our local playground. He settled into a rhythm on the slide and then experimented on the fence around the child care centre. I've looped parts of the former and added a slowed-down section of the latter.
The Disquiet Junto this week was a challenge for me, because (a) I don't usually remember much of my dreams (which is good because they often seem to involve my kids falling to their deaths) and (b) my room is very quiet aside from the noise of my daughter usually stumbling in around 1AM. So I borrowed my youngest's dream and added a few effects.
I like that it's a running dream. Many dreams I remember from my childhood involved running from things.
Labels: Disquiet Junto
Been revisiting my recordings of Leeton playgrounds and remixing them again but this recording seemed interesting enough without treatment. My plan is to screen a short presentation in a couple of parks this July to mark the anniversary of the For 100 Years album, the closing of town's centenary and to collect together new material that will appear on the DVD I'm finally going to finish.
This recording was made at Gossamer Park, which benefits from being one of the last parks I recorded. I used two types of piezo contact microphone, on the left channel is my homemade one and on the right is the cheap clamp-on variety. There's a little EQ but otherwise no further production.
Below is the mastered version, which sounds massive.
After the Junto, I returned to samples of Leeton's Central Park, last heard closing For 100 Years. It's been about a year since I manipulated these recordings and it's interesting returning to find new possibilities but I'm looking to record there again in July too.
This week's Disquiet Junto involved recording clapping and remixing applause. It's another interesting exercise in revealing how different people approach the same material because claps seem to produce very similar transients, so everyone is almost using the same ingredients.
To record my clapping I used a Rode NT1 with an Audio Technica AT4040 (I think, it's the cheap version of that model) in an XY position. I thought it would be interesting to compare these two mics as I don't use them much and was thinking of Ebaying them. The NT1 is a bit brittle and the AT4040 is kinda quiet but the waveforms showed quite a bit of difference between the two, although my ears didn't register much as the placement of my hands varied the results more.
It was interesting to experiment with hunching over the mics to get more lower frequencies reflected around them and leaning back to get more attack with the reflections from the roof. I think this was the case, I was also extenuating the treble in the slap at the time too.
Manipulating the recordings in Ableton Live led me to loop a couple of claps, vary the loop placement and then have them follow each other with a bit of a Beat Repeat effect. It sounded like I couldn't clap in time for a while but eventually I got a minimal percussive part going and lost interest. At this point I often think it's best to start afresh with a clearer idea of what results can be achieved, but instead I continued.
Returning to the track I sought to develop a harmonic progression but the short transients wouldn't give me much joy. Then I remembered the Sine Vibes plug-ins and used a few of their presets. After that I arranged those parts, added some dynamics with effects and mastered.