This one came slowly over the course of the entire day. I would go and work at it for an hour or two and then kept wanting to tweak something with the sound and how it sounded when recorded. I do admit that sometimes things get a little cloudy, not necessarily a bad thing; but one of those things one would rather do on purpose for effect.
Its a … …. ….
It is feeling more and more normal to shift attention towards the Matriarch, using a level or two of automation in Ableton Live helps to keep a flow going. I sense the pieces are getting longer and longer (in tiny increments) and this feels very much like my initial experiments could lead me to sessions of one to three hours with very little effort.
Thee Thin Ice Of Sundown In A Small Town. At sundown it is hard to see where ice pan ends and sea begins.
Watered Down water mark of a passage of reflection
Listening to “Kinka” by Carter Tutti, live at LEM festival. This is the perfect picture of where I want to take sound. The use of rhythm to enrapture and then sound to displace is so tenderly applied.
Tonight [… and recorded earlier today…] straight from the Matriarch/Subhamonicon dynamic duo; no messing with samples or over dubs at all. Just going with where my patch took me. I am so completely falling heads over heels for this.
The Matriarch is going to play a big part in how my work moves forward. I see that already, the ability to create more expansive and flowing motions in time is what I have been looking for. The ability to formulate and transform the sound is amazing and quite natural in a strange way. As opposed to an initial synthesizer I got that was sequencer based, the Matriarch is more oscillator based with a sequence function, subtle but important difference for me.
Two new pieces today built on mostly the same samples with different synth patches and expressions.
Working on video, making sound when waiting for video to render. I play with a lot of handiwork on the video and the need to render is pretty constant. But, it is time for making sounds.
Today, it started with trying to create a drone like pattern from my synthesizer, it is indeed a synthesizer but it is beat driven, using very clear bits per sequence, always divisible by 8. I get how that creates a multitude of possible rhythm combinatorics, but for creating lengthier subtle motions it is not as agile. But I shall soon have a synthesizer that includes a sequencer but is not dependent on it. This should change things considerably.
Then it was just a question of bringing in other elements.
I have amassed a huge library of samples and sounds collected since my arrival here. Each sound is representative of the place and also the moment I spent in the location I was recording. Trying to be observant, see past the advertising and see the place. And it is just as lovely.
Casting Nets Out At Stars
This is a very positive experience to be here on a residency in Twillingate where I have time and space to create work. For me, I don’t really start with a big idea or plan. I have a very strong kinship to the concept that the process is the product; it is by the very fact that you make it that your express yourself, the finished product is but a reasonable facsimile of that experience. I am exploring sound art because I can invite an audience to be part of the process; there are no promises of good or bad. Just experience.
I am also including a couple of links to work-in-progress videos for this work in Twillingate. They will be projected while I perform. I a thinking of a white sheet cut into strips and each one weighted down a bit and a fan blowing on that surface. The work is not about plot lines or stories, they are simply moving paintings.
Drive (mirror version)
Drive (trip version)
**SPECIAL**
Special BONUS Track!!! AT the whole cost of nothing 🙂
