So, finally finished and handed in my Metromix. As I said before, this was made up of a clip taken from the Anime film Metropolis and our own soundtrack composition. Following on from my experiments with mixing my recorded sounds thru’ Live, I decided to only use sounds that I had “made” myself instead of pre-recorded samples, although I did relent with the arc-ing at the end and used a sound effect I had knocking around coz I couldn’t quite get the right sound I wanted.
Imposing that condition probably made the task that much harder and possibly took me longer but it was quite satisfying being inventive. For example, the guy hitting the scaffolding pole with a hammer plus various different effects and treatment courtesy of Audacity made up most of the beats that you can hear. Still, why not have a listen yourself and click the link below.
I’ve spent most of the afternoon going thru’ the sounds I recorded yesterday. Some are a bit disappointing as you can’t really make a lot out but others are nice and clear. I’ve run them thru’ Live adding effects, slowing and speeding them up and have got some pretty crazy sounds. I’ve got a couple of them below.
We got the clips for the Metropolis mix yesterday. It’s the Anime version of Metropolis which I’ve not seen before – dunno if that’s a good thing or not. I’ve watched it about a dozen times so far and I keep coming back to an industrial type of treatment which seems a bit obvious. Live looks an interesting bit of kit though, but not having a musical bone in my body I think the learning curve will be a steep one. I’m gonna collect some sounds over the next few days to run thru’ Live and see what I can do to them. Hopefully that’ll help to inspire me.
This module explores the impact of digital media technologies on Sound Production across a range of contemporary fields. Electro-Acoustic composition; prerecorded & live performance, site specific installation, Soundscape creation and Generative/interactive music. Students will develop individual projects exploring creative opportunities opened up by interactive multimedia technologies and technologically mediated performance.
‘Wherever we are, what we hear is mostly noise. When we ignore it, it disturbs us. When we listen to it, we find it fascinating. The sound of a truck at fifty miles per hour. Static between the stations. Rain. We want to capture and control these sounds, to use them not as sound effects but as musical instruments.’
John Cage (1967)