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The copyright to each song belongs to the respective artist.
Right-click track name and then click "save as" to download a track
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1
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Where we're at 2017
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Ali |
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The rhythm track is created using the Alesis SR16 drum machine. Several different rhythms were recorded, then cut up and pasted within the DAW to form the basis of the track. The rest of the track is played on various synthesizers. |
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2:26 |
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2
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Where we're at 2017
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Go Forth |
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All the rhythm track is created using the 'No Input Mixer' technique - feeding controlled amounts of outputs and sends back into inputs. This was recorded into my DAW, and cut up and pasted to form several rhythms. The rest of the track is played on various synthesizers and bass guitar |
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3:20 |
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3
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Reverb
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Forgotten, Returned |
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1st instrument is a Parker PM20 guitar through a Line 6 M9. The reverb swell chords are accomplished by using the expression pedal to morph from a dry sound to a full 'hall' reverb mix with maximum decay time. The slight flanging effect is obtained by morphing the reverb pre-delay from 70 to 90 msec. This simple pattern was looped in Mobius. The chords change suddenly at about 2:30 for a change in direction - why not? 2nd instrument is a PRS SE singlecut through a Studio Projects valve pre-amp, with some compression applied via the M9. Reverb effects are relatively subtle on this instrument, ranging from a dry sound where neccesary, to long faded up reverb tails. Sometimes a dry phrase is repeated with reverb added. Occasional backwards guitars (once with reverse reverb) are dropped in. Assembled and rendered in Reaper |
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3:53 |
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4
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Quartet
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the dolphin bridge |
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Each part recorded onto one track of my Boss microBR recorder using the inbuilt microphone. 4 parts downloaded into 'Reaper' DAW, where editing was carried out, including correction of some timing mistakes, and creatively changing the timing of certain parts. Some simple effects were applied across the master buss (noise reduction, touch of EQ to remove some midrange, a hint of reverb and the meerest sniff of compression).
I found this project really liberating, it was actually great having to be restricted to 4 parts, and not having to succumb to the usual temptations of adding 'just a little bit more tambourine in section b of the chorus' syndrome. |
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3:34 |
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01.06.2009: Erixoff (www.youtube.com/user/erixoff) |
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Sweet pretty tune :-) The sound is very good for a live recording with buil-in mics. I wasn't expected the MicroBR could do this.
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5
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ReUse
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Near Death Experience |
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The track represents sound metaphors of a human body as it experiences a near death experience.
This track has been created using a variety of disposable items found in hospital, nitrile gloves, syringes, pill pots, tongue depressors, etc. In case youíre wondering, none of the items had any contact with body fluids, and were thoroughly washed before Re-Use.
The opening heartbeat sound was made by using an electrode gel tub played like a bongo, with loads of compression, bass eq and tube amp distortion, with a hint of ambient reverb. The slow down effect at the end of this section was created using the Doppler effect within Goldwave. The 2 ëbreathingí tracks are made by close micing the airflow through syringes (20ml and 50ml) as the plunger is being drawn and withdrawn, one of these tracks recorded after a length of oxygen tuning was attached to the end of the syringe for a slightly deeper sound. Various squeaks and squeals were simply made by inflating a nitrile glove, and pinching the neck as the air is released, just like you might do with a balloon. The other ësqueakyí sounds around the same time in the track were produced by rubbing a glove tightly stretched across the fingers with a wooden tongue depressor. These sounds are mostly reproduced without any effects, although some were articulated at source using my mouth as a formant filter.
When the heartbeat stops, further glove squeaks are used to portray alarms sounding. There is also a terrific high pitched drone, obtained by whirling a pair of stitch scissors around on a nitrile-gloved finger (imagine a cowboy twirling his six-shooter) which gives an effect similar to rubbing the finger around the rim of a wine glass. The similar, lower pitched sound was obtained using a different pair of scissors to same effect. The windy whirling sound heard at the same time is simply a piece of oxygen tubing whirled around the head. These whirly sounds were looped in Reaper to create longer patterns.
Some low pitched bass sounds were obtained by twanging an electrode wire stretched tight across a resonating electrode gel tub, the small Sony mic placed inside the tub to capture more bass.
The rhythmic percussion track (from 2:15) represents the monotonous rhythms of mechanical / electrical life support systems. It was created using (1) a nitrile glove stretched like a drum head over a gel tub and played with a tongue depressor as a drumstick, (2) a second ëdrumí track, pitched higher, (3) the same gel tub played upside down, like a bongo, and (4) a number of tongue depressors held tightly over a table edge and played rather like a thumb piano (this was extremely difficult to do!). These main 4 percussive tracks are looped (using Reaper) to the desired length. In addition, there are a couple of ëshakerí tracks, made by shaking disposable pots filled with a number of small disposable electrodes. I was not entirely happy with the resultant shaker sound, so I tried to tighten it up by eqíing and gating, then added a bit of life by using a rhythmic delay. This was a bit better, though still not ideal, so I kept it quite low in the mix. A few rhythmic syringe pops add a nice rhythmic break.
The thumb piano, shaker and percussive hits (tensioning the glove drum head to create a talking drum type effect) also appear sporadically at earlier stages in the track, with various added VST effects.
Eventually, (having been re-started) the heartbeat re-appears, eventually syncronising with the rhythm track (symbolising that the heart is now beating normally), which then fades out to leave the heartbeat and breathing sounds.
All of the recordings were made using the Boss micro recorder, using either the internal microphone or a little Sony stereo microphone. Each track was subsequently transferred to PC and edited using Goldwave, and the final track was assembled within Reaper. |
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3:40 |
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6
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Bugs
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Tiger Mosquito and Fruit Flies |
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Insect sound sources were obtained from US Department of Agriculture, Agricultural Research Service, and used with informed permission of Richard Mankin, Research Entomologist, Insect Behavior and Biocontrol Research Unit, on 21st November 2007
http://www.ars.usda.gov/sp2UserFiles/person/3559/soundlibrary.html
The piece consists ONLY of the sound of 3 insects:
(1) Aedes albopictus (Asian tiger mosquito) male in flight. recorded by Everett Foreman with Bruel and Kjaer microphone
(2) Ceratitis capitata (Mediterranean fruit fly) adult male courtship song recorded by Everett Foreman with Bruel and Kjaer microphone and
(3) Bactrocera tyroni (Queensland fruit fly) adult male calling song recorded with Phil Taylor at Macquarie University, Sydney Australia.
Soundclips were heavily edited using Goldwave and assembled and further edited using Audacity. |
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6:34 |
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