nicely serendipitous this; i was recording the birds outside for a minute for last weeks naviar haiku and i happened upon an fx chain that really closely approximates a bird call the other day (eg. sevenism.bandcamp.com/track/ju...k/jungle-thrush)
thought about re-using the recording but then was away this weekend in the stereotypical bucolic english countryside (Somerset) and the birds were going mad and there was a bee buzzing around.
hopefully it's quite difficult to tell the difference between the digital birds and the carbon-based ones
Disquiet Junto Project 0231: Field Complement
The Assignment: Compose a piece to align with, from memory, 60 seconds of everyday sound.
This week’s project’s theme involves how composing relates to memory. It is recommended that you read through all the steps in the project before proceeding to attempt to execute it.
These are the steps:
Step 1: Find a place, preferably outdoors, where you can sit for 5 to 15 minutes without being disturbed. This place should have a fair amount of inherent noise to it, and that noise should be variable, not static — i.e., not the long held drone of an overwhelmingly loud HVAC system, but the bustle of a street corner, or of a playground, or, if weather or other circumstances keep you indoors, perhaps of a busy cafe.
Step 2: Bring with you a portable recording device as well as something on which you can quietly take a small number of written (or typed) notes. You may wish to do a test recording to be certain that your note-taking isn’t part of the audio recording.
Step 3: Settle into the space and get a sense of its sounds. Listening closely.
Step 4: Make a field recording of one full minute, or a little longer, of continuous sound in this place. While recording the sound, use time codes to make note of any memorable sonic instances. Keep track not only of when a sonic instance begins, but also of its duration.
Step 5: Trim the field recording to exactly 60 seconds.
Step 6: Without listening back to the field recording, compose and record a 60-second piece intended to complement it. Refer back to your time-code notes to align composed instances with those real-world instances that you recall having distinguished your field recording. You can use whatever instrumentation you like, but it is recommended that you use no more than one or two instruments. You should not employ any field recordings in your composed piece. Sonically, the “composed” material should be distinct from the field audio.
Step 7: When your composed piece is completed, layer the two tracks together into one new 60-second work. They should be played back at equal volume, more or less. You can adjust a little to achieve the impression of balance between the field recording and the composed work. The only editing you can do is to fade in and out, if that is so desired.
Step 8: Upload your completed track to the Disquiet Junto group on SoundCloud.
Step 9: Annotate your track with a brief explanation of your approach and process.
Step 10: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.
More on the Disquiet Junto at:
Join the Disquiet Junto at:
Subscribe to project announcements here:
Disquiet Junto general discussion takes place at:
This track was tagged with the following keywords: World.
1 played it.
Listen to all music and sounds of sevenism and follow this user by signing in for free.