Theories about stuff
The Sound Machine
Pg. 35 The Sound Machine.
"..there is another note-a vibration if you like, but I prefer to think of it as a note. You can't hear that one either. And above that there is another and another rising up the scale for ever and ever and ever, and endless succession of notes... an infinity of notes....... and on and on, higher and higher, as far as numbers go, which is... infinity... eternity... beyond the stars."
Field Recording with Chris Watson: Audio Training Workshop
I had the opportunity to take part in an advanced audio training workshop with Chris Watson this week. It was being run for Phd Students involved in sound technologies and included spending a day at North Berwick beach taking field recordings and learning about equipment and techniques. Later we spent the evening in the music lab listening to our recordings and experimenting with channels and surround sound techniques, before moving on to the pub to discuss things further.. It was an amazing chance to meet Chris and to spend time learning from a group of very experienced people. We took recordings using various equipment including hydrophones, contact mics, parabolic mics, shotgun mics and omnidirectional capsules.
Chris will be performing on Friday 22nd at Inspace (informatics building of Edinburgh University) as part of Dialogues Festival.
Included in the performance will be some recordings taken during the workshop.
Amacher & Moore
An Interview With Christina Kubisch
GRAMMATRON
A wonderful old "virtual writing machine that translates your experience for you as you experience it." from Mark Amerika.
Listening.
'Listening is not a receptive mode but a method of exploration, a mode of 'walking' through the soundscape/ the sound work. What I hear is discovered not received, and this discovery is generative, a fantasy: always different and subjective and continually, presently now.'
Salome Voegelin
Listening to Noise and Silence
Towards a Philosophy of Sound Art
Matthew Herbert.
MATTHEW HERBERT [MANIFESTO]
P.C.C.O.M.
PERSONAL CONTRACT FOR THE COMPOSITION OF MUSIC [INCORPORATING THE MANIFESTO OF MISTAKES]
THIS IS A GUIDE FOR MY OWN WORK AND NOT INTENDED AS THE CORRECT OR ONLY WAY TO WRITE MUSIC EITHER FOR MYSELF OR OTHERS.
1.The use of sounds that exist already is not allowed. Subject to article 2. In particular:
◦No drum machines.
◦All keyboard sounds must be edited in some way: no factory presets or pre-programmed patches are allowed.
2.Only sounds that are generated at the start of the compositional process or taken from the artist's own previously unused archive are available for sampling.
3.The sampling of other people's music is strictly forbidden.
4.No replication of traditional acoustic instruments is allowed where the financial and physical possibility of using the real ones exists.
5.The inclusion, development, propagation, existence, replication, acknowledgement, rights, patterns and beauty of what are commonly known as accidents, is encouraged. Furthermore, they have equal rights within the composition as deliberate, conscious, or premeditated compositional actions or decisions.
6.The mixing desk is not to be reset before the start of a new track in order to apply a random eq and fx setting across the new sounds. Once the ordering and recording of the music has begun, the desk may be used as normal.
7.All fx settings must be edited: no factory preset or pre-programmed patches are allowed.
8.Samples themselves are not to be truncated from the rear. Revealing parts of the recording are invariably stored there.
9.A notation of sounds used to be taken and made public.
10.A list of technical equipment used to be made public.
11.optional: Remixes should be completed using only the sounds provided by the original artist including any packaging the media was provided in.
Matthew Herbert (2005)
P.C.C.O.M.
PERSONAL CONTRACT FOR THE COMPOSITION OF MUSIC [INCORPORATING THE MANIFESTO OF MISTAKES]
THIS IS A GUIDE FOR MY OWN WORK AND NOT INTENDED AS THE CORRECT OR ONLY WAY TO WRITE MUSIC EITHER FOR MYSELF OR OTHERS.
1.The use of sounds that exist already is not allowed. Subject to article 2. In particular:
◦No drum machines.
◦All keyboard sounds must be edited in some way: no factory presets or pre-programmed patches are allowed.
2.Only sounds that are generated at the start of the compositional process or taken from the artist's own previously unused archive are available for sampling.
3.The sampling of other people's music is strictly forbidden.
4.No replication of traditional acoustic instruments is allowed where the financial and physical possibility of using the real ones exists.
5.The inclusion, development, propagation, existence, replication, acknowledgement, rights, patterns and beauty of what are commonly known as accidents, is encouraged. Furthermore, they have equal rights within the composition as deliberate, conscious, or premeditated compositional actions or decisions.
6.The mixing desk is not to be reset before the start of a new track in order to apply a random eq and fx setting across the new sounds. Once the ordering and recording of the music has begun, the desk may be used as normal.
7.All fx settings must be edited: no factory preset or pre-programmed patches are allowed.
8.Samples themselves are not to be truncated from the rear. Revealing parts of the recording are invariably stored there.
9.A notation of sounds used to be taken and made public.
10.A list of technical equipment used to be made public.
11.optional: Remixes should be completed using only the sounds provided by the original artist including any packaging the media was provided in.
Matthew Herbert (2005)
Peaches and the Technological Revolution
Peaches as a conceptual digital artist.