| about us | projects | members | feedback | links | favorites |
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| andy butler |
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| info@andybutler.com | ||||
| url | http://www.andybutler.com | |||
| address | Norwich UK | |||
| phone | on request | |||
| about | soundwise, this is what I do: Electric guitar..livelooping..supporting role Electric Bass..supporting role Drums..for jazz and avant rock Sound editing..for my own listening delight Ethnic instruments..interaction..listenning Field recordings..don't know why otherwise I'm a software developer, vegan, atheist who doesn't drinkdrugsmoke | |||
The copyright to each song belongs to the respective artist.
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| Pianola Sorbet |
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| The title is re-used. All instruments found or created from things that were either recycled or thrown away. All pitches are played were freely selected by ear without regard to harmonic theory. Method, and instruments. A basic percussion track was recorded with a Zoom H2, consisting of a simple bass drum figure played on a 5Litre plastic mineral water bottle. This defined the structure of the piece, 3 disconnected rhythmic sections each at slightly faster tempo, the last one leading into a 4th slow section. Recording was then transferred to desktop pc, equiped with Focusrite Saffire Pro interface and running Adobe Audition. All pc recordings made with Sennheiser 421 which was re-used from it's usual task of talking on Skype with Matthias Grob. Two tracks of percussion were added, and panned left-right. Plastic sorbet container by "Pianola", the sorbet having been consumed (Lychee and Apple flavour). A Fretless Kalimba was made from recycled wood, metal from discarded windscreen wipers, recycled nut and bolt and a discarded container for 50 CD-Rs used as a resonator. A number of tracks were recorded. A small shawm was made from discarded drinking straws and used to record the intro and linking passages. The echo effect used on this was recycled from whatever project last used that echo (likely it was guitar playing by Michael Bearpark). Trumpet sounds were played on a soya milk carton prior to recycling, and added to the last section. Tearing off a corner allows the pouring spout to be used as a mouthpiece, as well giving access to the last drops of liquid. These were modified by an old experimental vst pitch shifter which was written as a test for algorithms to be used in software for the hexaphonic guitar. Setting was re-used from the last test that I did. This left me looking for a suitable high pitched melody sound to go over the 3 main sections, perhaps a flute...but no suitable materials were at available. Luckily help was on hand in the form of our friend Volker Grube and his trusty hammer. The old bathroom window needed to be smashed in order to be replaced, so the Zoom H2 was brought out to record the event. Treating the glass sounds in Audition produced several suitable and surprisingly delicate sounds. Tibetan bowl like chimes, a Ting-Cha, and some nicely glass flavoured abstractions. These last sounds are the only ones not to be performed and recorded in real time, with the samples being positioned in Audition in piano roll (pianola) fashion. Pitching on the faux bowls was done by resampling at non-tempered intervals. Sadly, I doubt the glass would have been re-cycled. The piece shows my fascination with field recordings of Asian music. |
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| Dreaming of dust and water |
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| (source track for the generative mix on CT-Generative) | ||||
| Cicadas and Crickets |
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| FEATURED INSECTS. Day time cicada, Turkey. Day time cricket, Turkey. Night time cicadas, Turkey. Night time cricket chorus, Crete. EQUIPMENT Sennheiser MKE-66 stereo mic. Vivanco EM216 stereo mic. Sony MZ-35 MD Recorder. Kenwood DMF20 destop MD Player(for digital transfer to pc) PC with Adobe Audition. All sounds are derived from recordings I made of the insects. Slowing down the insect sounds brings them into a more musically useful octave range, and reveals hidden structural details which would otherwise pass un-noticed. Composition method is essentially improvisational, I select sounds in the Audition editor and, after any necessary clean-up work on the audio, use Audition to alter the sounds until they seem ready for use. Typical processes are resampling at slower speed, and filtering, although occasionally other treatments are used. Sometimes sections are submixed to a new file for further treatment. The sounds are added to the Audition multitrack layout for accurate positioning, with the option for automated volume control, filtering and panning. In this piece, typically the treated sounds are heard first, in variation, before the original insect sound is revealed. The last section is an unedited, untreated recording of massed crickets, all singing a prolonged 3kHz tone. Copyright 2007 Andy Butler |
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