Deep listening to nature

Recently I heard a talk from Andrew Skeoch about his field recordings.

It was a thoughtful presentation that opened with audio he’d captured of the dawn chorus of birds in Victorian bushland.

Andrew shared a spectrogram with the birdcalls that showed their frequencies and then identified specific bird species to discuss their evolution and how this shaped their communications.

A cuckoo, for example, had a deeper call to reach other cuckoos as they were more geographically isolated species.

Other species engaged in a call and response that saw their birdsongs adapt to new melodies, which reflected my own recent experiences whistling with Pied Butcherbirds.

He spoke on the way some sounds will evade detection, while others include transients that help identify the location of the bird.

As the presentation neared the conclusion, Andrew reflected on the subjective experience of time to consider how different species in the landscape operate in different speeds.

He speculated that dragonflies, for example, live at a pace over a hundred times faster than humans.

To illustrate his point he slowed down the birdcall (but maintained pitch) of a small bird to demonstrate how more emotive their sequence sounded when we could identify the micro-phrases that constituted it.

The broader argument of his presentation, Andrew explained, was to help people recognise their place within the environment and he said there were many more observations with audio files to hear in the book he was promoting.

As he ended Andrew played the recording again and this seemed magic the way it illustrated how much we'd learned since first hearing it.

I really enjoyed hearing his perspective and am grateful for the Murrumbidgee Field Naturalists for inviting Andrew to visit Leeton. 

So my humming

 


Disquiet Junto 0641 Re-re-re-re-revise

The Junto this week is to revise a recent track.

Lately I've been challenging myself to work in different time signatures, so this isn't the best example but maybe that's why it stood out. 

After I'd tried permutations that made lottery numbers look sequential, I found myself pondering whether I'd lost something pursuing needless complexity in my compositions. 

So I put together this track quickly and used the M-Tron VST for inspiration, particularly the disco bassline and a choir shaped the chord sequence. 

When the Junto instructions arrived I decided to run the four MIDI parts through my Roland Boutique rack. I've got a lot of the Boutique range but mostly use the TR-06, JU-06, JX-08 and SE-02. 

I found presets that sounded okay and then began experimenting with the arpeggiator and delay settings. Somewhere I found that fuzzy Juno button and then I realised the song needed more space for the delay, so I changed the sequence. 

And I've been pondering that news from Cechnya about legislating tempo and realised this song would fail their censorship, although it means no harm to the Checnyan peoples. 

This is the fourth take and it was the first where the feedback didn't totally get away from me.

I can't believe it's not synthesis

The song of the Antrarctic Weddell seal is wild! 

You can see they have a massive range in the spectogram showing a big drop, so clearly their song has range as lower pitches use more energy.

Listening to it and I sense the reverberance of their singing underwater, that's the metallic ringing effect.

It might be clicks that become like lazer gun sounds, the latter being made tapping on metal wires so it might be the soundwave bouncing back through the water from the ice?

Wonder if this is their dawn chorus or maybe a seasonal song?

World's first drum machine


 

naviarhaiku535 – Come outside

While I wasn't thinking specifically about the haiku shared by Naviar Records, I wrote a lot of lyrics along similar themes.

Get this party started

Disquiet Junto 0640 Time Vault

The Junto this week is a surprising twist on the idea of a creative constraint.

It asks participants to hand over a track for eight months time!

So I got enthusiastic and misread the instruction for a “wordless” piece, but that’s okay I’ll use the track I wrote elsewhere but I made a demo.

As it is I have a different idea for a track that I desperately need to stop myself from whistling.

It’s the call of the Pied Butcherbirds, which I adore hearing at Griffith Pioneer Park Museum.

Over the last year I’ve recorded a few times where we exchange melodic phrases.

However, I shared these with the local Field Nats and heard in response that it is unethical to distract birds.

The argument is that wasting the birds time is not cool and actually I can dig it.

So here is a track I’ve made with my final Butcherbird whistling recording.

In it you can see the point where I realise that my provocations are crashing their party.

You can’t see but there were two birds basically finishing each other’s sentences.

Then I begin parroting them.

At one point I think one bird flies overhead to give me a stern look.

You gotta feel

 


naviarhaiku534 – Pre-dawn inertia

Marco from Naviar Records shared this haiku and, after I'd been jamming with the guitar, a few lines came to me.

The pre-dawn inertia that he identifies is a thing and also a rich metaphor, but I took it as a thing.

Solitaire

I think it was among Tim Prebble's Detritus that I saw this

It was saved to my folder of music memes, but the more I look at it that the more it makes new meaning.

So many recordings I've over-twiddled with settings, so opening a round of Solitaire to occupy away some thought makes a lot of sense to me.

Disquiet Junto 0638 Center (3 of 3)

 

For the Disquiet Junto project this week I added to recordings from previous weeks. 

Drums seemed an obvious contribution to make and, after listening through the tracks, I settled on 'Ataxophobia' by Encym and Jimmy Lem.

It took me a while to realise that I'd used Encym's track the week earlier, but by then I was almost finished.

naviarhaiku532 – Wordless

 

I liked the image of following a butterfly's shadown in the haiku shared by Naviar Records.

It'd be great to be able to film that movement, but it seems like it'd require some time in my garden.

Maybe that'd be a good thing, as it's starting to feel like autumn.

Anyway, this track is an example of my recent interest in 6/4 time signatures.

A sound recipe

Fragments of Eduard Artemyev's score for the film "Solaris" for ANS synthesizer.



 

Disquiet Junto 0637 Right (2 of 3)

 

I've recorded a bass part to accompany 'Neat Disorder' by encym. 

Then I added a bass part to Undermulden's 'Splong'.

Disquiet Junto 0636 Left (1 of 3)

The Disquiet Junto project this week is to "Record the first third of a trio."

Drums are a good place to start and I've been jamming along with a pop song this week.

So I quickly set up a Rode NT4 mic for overheads and used a bass speaker to record the kick.

These will be made available for the Junto to add parts in coming weeks.

AI


 

Is Google broken?

Went looking for one of my videos yesterday and Google had nothing.

It seems remarkable that I've had the bassling.com URL for around two decades and used Blogger for almost as long and been on Youtube since 2006 or so.

Then again, maybe it's that their algorithm prioritises recent content.

So now I'm wondering if I should remaster my older material and re-upload it?

I can accept that not many people are looking for Bassling videos, but it's important for me that they can be found.

As a regional artists it makes it very difficult to convince funding bodies to support my projects if the dominant search engine hides my material.

I'm sorry that

Disquiet Junto 0635 ’Round the Bend

The Disquiet Junto project this week is to imagine your bandmate is a train.

For various reasons I decided to use my own recording of a passing diesel locomotive. 

This recording was made at Ramponi Park about a dozen years ago.

Ableton Live decided the tempo was around 122 BPM and I wanted a nostalgic sorta vibe.

Originally the chords were played with Live's vibraphone instrument, as I saw a performance last weekend that used this instrument.

Then, as I decided on the vibe (no pun intended), I swapped it for M-Tron Pro and also used that VST for the melody.

Old Macdonald had a theremin


 

naviarhaiku529 – A distant mountain

 

The haiku shared by Naviar Records arrived as I was attempting to make Tchaikovsky in the style of Walter Murphy.

Might yet add a disco-style bass part.

I don't always

Disquiet Junto 0634 Bust a Move

 

One of my biggest music influences is the Saturday Night Fever soundtrack. 

When I got that as a kid, it blew my mind how funky a movie could be. 

There are a couple of classics interpreted as disco numbers, so I took that idea as inspiration and made this track with Swan Lake.

Anyway, as I was exporting the track, I had a doubt about whether I'd honoured the Junto prompt. 

Maybe it's a guilty conscience for uploading an old track last week, but I decided to do something different. 

So the track at the top of my post was recorded quickly. I set up my camera and used the built-in mic, recording from the kitchen sink into the dodgy extension on the house where the drum kit seems to sound great (maybe it's the low ceiling?). 

 I've been enjoying hearing Schubert's waltzes, so I found one on Youtube and kept everything muffled with the window closed while I beat the drums hard.

naviarhaiku528 – What’s a month for the sea

 

The haiku shared by Naviar Records this week had me looking for a frosty synth sound.

I'd already programmed a few ideas and then set about helping them to work with each other.

 

Disquiet Junto 0633 Voice Swap

The Disquiet Junto project this week involves substituting singing for instruments, so I've turned back to a piece where I replaced those early vocal parts.

'Alright' appeared with a mix by DJ Pnutz on my album SING, as well as in previous Junto projects in various guises.

It was just waiting to be revisited and returned to a full acapella-style piece.

You spent all this time

I like a Leo meme as much as the next guy and it's refreshing that he isn't holding a drink!

However, this one mistakes the process for the product.

For me the hours are spent making a recording that puts me into a trancelike state that is deeply enjoyable. 

Often it would be best to give it another day, but that usually feels like I might be wasting my time since there's always more to record. 

So I will return to the things that remain strongest at some point in the future, when I revisit tracks to compile an album.

Bachflip


 

Disquiet Junto 0632 Shear Wind

A funny thing happened along the way to finishing this track. 

I set out yesterday to record sheer wind noise. 

It's something I rarely do and the result seemed underwhelming. 

The microphone mightn't have been plugged in, but the noise was more mechanical most of the time and the wind noise was mostly insignificant. 

So I gated the peaks and used Live to set the BPM and make a drum part from the field recording. 

Along the way I made a different track with a field recording that totally lacked shear wind noise and began wondering if this track was, well, off track for the Junto. 

Then I went back and re-read the Disquiet instruction and realised I had followed the purpose, particularly this bit: "a noise you didn’t notice until you listened back, or a malfunction in the recording equipment." 

The grunting bike noise propels one track in a pack of rhythms and, while it's not wind shear, I followed the direction to make music with the resulting recording.

Making music on a computer


 

naviarhaiku527 – ore train

The haiku shared by Naviar Records this week reminded me of a recording I'd made at the Museum.

Here the rhythm of the motor reminds me of the way a train rolls.

Reagan Fuzz

Fuzzgetaboutit!

Disquiet Junto 0631 In a Silent Waveform

The Disquiet Junto prompt this week is to "Take one held tone and make it dance slowly."

My gated guitar rig immediately came to mind and I settled on freezing the harmonic on the G string of my bass using an Electro Harmonix HOG.

Then that tone is sent to different effects chains that are gated by the drum loop from the Yamaha sequencer.

I hope you don't mind


 

Disquiet Junto 0630 Creative Sufficiency

The Disquiet Junto prompt this week invites participants to set a limit on the items they'll use.

As I had a bunch of gear plugged together, it wasn’t too hard to take a guess what I’d use and then add a few more for mastering the result. 

There was a loop that I’d already made in Live that used three instruments and seemed, um, sufficient. 

The prompt this week reminds me why I plugged these items together, as I’d been looking for a way to get more use from them but didn’t want to start an open-ended project that didn’t get a result. 

So, to limit my opportunity to start planning all the things I could use, I set myself a constraint by deciding the items needed to fit within the bread crate.

My folder of unfinished songs


 

naviarhaiku525 – vernal seas

The haiku shared by Naviar Records this week prompted me to think of a delay that I recently bought.

I have too many delay pedals and am thinking about selling a couple, but this one has a novel interface with a joystick to manipulate the repeats. 

This is also the first time I've recorded my secondhand Eastwood tenor guitar.

Are you sure?

Disquiet Junto 0629 Jigsaw Logic

 

The Disquiet Junto project this week is a remix, so I've revisited a track that was recorded while on a residency in Stuart Town last year.

Disquiet Junto 0628 Alchemical Brothers

 

The Disquiet Junto prompt this week invites an alchemical process into one's music-making.

I worked from the assumption that drums are good and 303 too, then arrived at acoustic and digital instruments in conjunction.

naviarhaiku522 – lightning

The haiku shared by Naviar Records arrived as I was challenging myself to record a song.

Part of my process was to limit the number of inputs to suit the six-channel mixer.

So I decided to put everything into a bread crate, which turned out great as you can poke leads out through the grate at the bottom.

The song was something I'd partly sketched earlier in the year and one of a number that I hope to realise with this collection of instruments and effects.

There's a Roland TR-707 on drums that I should use more often, as well as a Novation Mininova and Korg NTS-1 that were both also being neglected.

First world problems


 

Disquiet Junto 0627 Just Ice Society

 

The Junto begins each year with the direction to "record the sound of ice cubes in a glass and make something with it" (or something like that, I forget!)

Some years ago I recorded my out-laws' glasses to make this project more convenient, as it often occurs around the hottest day of the year and they have air-conditioning that's quieter than mine.

I was really sloppy with the ice cubes as they sound better slurping around and even better when they fall on the carpet.

Those moments I've repitched to become snare and kick parts in the percussion.

naviarhaiku521 – basking

 

The haiku shared by Naviar Records spoke to me, specifically the line about "my trashy hut" as it could describe my home studio!

So I recorded the track I've been jamming on this week.

Disquiet Junto 0626 Audio Journal 2023

The final Disquiet Junto prompt each year has been an opportunity to survey one’s media and it’s always fascinating to see the scenes thrown together. 

It’s a great insight into what participants have been making outside of the Junto too. 

So I was disappointed to see my 2023 seemed quieter than previous years (and here I note this is my ninth video response to the Audio Journal prompt). 

 I can spot there were many visits to material from previous years, as well as reusing recordings through successive projects. 

At first it disappointed me to see there were no videos published on my Youtube in June, then I remembered that was the month that my partner had pneumonia and the Ngurambang exhibition opened in Griffith. 

That was hectic! 

Other highlights not captured here include an exhibition about Murray Cod, winning the “Champion Exhibit” award in a local art competition and being commended for a short story. 

All the best for the new year and I’m looking forward to hearing what you’ve been recording this year, cheers.

naviarhaiku520 – Winter sky

 

The haiku shared by Naviar prompted me to plug in my Moogs and play around.

They sound rich, so I find myself just grooving along and enjoying what follows.

I am hoping to get better at programming the sequencer, as the MIDI inputs don't trigger everything.

Straight out the shoe box


 

Disquiet Junto 0625 Noise Ceiling

 

The Disquiet Junto this week asks participants to imagine the sound of the room in a photo.

I looked at the pic and in the other room my son was cooking an apple pie in a halogen oven, so I thought it sounded appropriate.

Disquiet Junto 0624 Fresh Pair

 

The Disquiet Junto project this week asks participants to combine a couple of influences.

I'd been playing with a melody that reminded me of the gargle of a wattle bird, then arrived at giving it an accompaniment that I found kinda jazzy.

(Admittedly, jazzy for me lately is electric piano and pizzicato double bass samples.)

Then I added more electronic elements and thought it sounded like early Senor Coconut.

And, before long, I was imagining the winter that Uwe Schmidt spent in Melbourne before he moved to Santiago.

Then I wondered if he had a lonely afternoon jamming with a wattle bird.

naviarhaiku517 – Early dawn’s pale light

 

The haiku shared by Naviar Records had a line about a "gentle start to the day" and the weather has been warming up here.

It's heading toward a maximum of 40 and that gentle moment feels brief, as the sunlight begins to bite from the first direct beam.

So I tried to convey a sense of the day being brighter than expected.

Disquiet Junto 0622 Know the Shadow

 

The Disquiet Junto assignment asks "How do you depict a shadow in sound?"

It prompted a few thoughts for me, starting with the line that The Shadow knows the evil that lurks in hearts of men.

Then I reflected on the way shadow blocks light and thought it'd be interested if the sounds came from the edges, so I explored panning and tilting and compression artefacts.

Finally I realised that I had an example of shadowboxing if I used the two takes I'd recorded on the drums.