Panasonic Dish:
Field Recording
I’ve previously been using an H5 zoom field recording with the Panasonic Dish however, this time I used the mix 6 which has dramatically improved the audio quality. I was having some initial problems due to a lack of experience with mix 6, for example, I was receiving headphone output in only my left ear but familiarising myself with the setting I resolved this issue and had a successful field recording session. I recorded the evening rush hour when traffic would be most active and chaotic. I successfully captured the unsettling emotional effect of the acoustic nature of the busy traffic. The Panasonic Dish does draw a lot of attention. I had many moments of humour with the public. This obscure microphone was miskenned for Alian detection.
Soma Either:
Field Recording
Using the Soma Either, I recorded ultrasonic frequencies around the university. I was inspired by Christina Kubisch to use the university as a location to record EMF because she stated in an interview,
“I know the places which are full of electromagnetic waves its shopping malls, its where the money is, it’s where sometimes the police is, always big traffic places, stations so on but somethings you find things where you don’t know where they come from, the earth or a corner and I like to include these places as well”. (Sonic Arts. 2018. 00:30)
The University is filled with electronic devices such as machines, lighting and computers which make some interesting field recordings.
Christina Kubisch
Sound Artist
I am inspired by the sound artist Christina Kubisch. She specialises in the process of sonification of ultrasonic frequencies such as electromagnetic waves. She specialises in installation work however, I am inspired by the recording element of sonification. Her installation-based works titled ‘Electrical Walks’ and ‘Clouds’ are inspiring for the exhibition I will participate in in February and possibly April. Her website includes videos, which include great references to locate ultrasonic frequencies. From this, I found out that mostly artificial and technological places are the best locations to field record.
Electrical Walks
Clouds
Behind the Scenes: Video
Post-Production: Composition
In reflection, beginning the process of editing the field recordings and building the composition/soundscape is a space where I’m developing the thinking and conceptualisation behind the piece. I have developed the thinking behind sound and connectivity. What I mean by this is how sound produces positive and negative vibes. Sound is certainly subjective, however, I would argue we associate environmental sounds universally as we share spatially the sonic environment.
According to Goodman (2018, p. 70) “the sonic activation of the affective sensorium produces a basic autonomic response: ‘As you cross a busy noonday street, your stomach turns somersaults before you consciously hear and identify the sounds of screeching breaks that careens towards you…The immediacy of visceral perception issue radical that it can said without exaggeration to precede the exteroceptive sense perception.
Furthermore, when editing the composition I am manipulating the perception of sound for a bodily response. I am exaggerating the emotional experience to highlight the ecology of fear within the urban sonic environment of London.
Music Composition
To build the layers of my experimental music composition I have been using Logic alchemy to find atmospheric pad synthesisers and a MIDI input to record live. This part of the process brings the piece alive emotionally enhancing the overall experience of the composition/soundscape and developing the evolution of the direction/journey as well.
The choice of sounds is chosen with the intended effect of sound and connectivity which I previously explained however in this section, the busy traffic creates a tense emotion therefore a negative vibe which is reflected in the music composition. The tonalities of the pads create space played in minor and distant chords to create uncertainty and tenseness.
Editing:
Post-Production
Firstly I listened back to the field recordings, making cuts removing non-usable sounds and keeping interesting sounds.
To introduce the soundscape I chose a field recording that captures construction, cyclists, pedestrians and road traffic for an overstimulating experience grabbing the attention of the lister and setting the scene of London at its busiest.
I have used a low cut to remove the tones of the field recording as it fusses with the music composition and creates a muddy mix as well as an unsettling listening experience.
I have used reverberation as a cleaver tool to introduce more space into the composition when the volume reaches a loud point to signify the feeling of overwhelmingness.
Conclusion:
In conclusion, I discovered that the editing process is a space of experimentation as well as a space to evolve the thinking and conceptualisation around my piece. I am pleased with the result of the beginning stage conceptually and practically. All the pieces are falling into place as the creativity flows.
Bibliography
Goodman, S. (2012). Sonic warfare: sound, affect, and the ecology of fear. Cambridge, Mass. ; London: Mit Press.
Sonic Arts. 2018. Interview with Christina Kubisch. 22 July. Available at: https://www.youtube.com/watch?v=sYUNSQb5zmU (Accessed at: 30 November 2024)