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NEMO 031
year: 2009

project coordinator:Jim Goodin
mastering: Jim Goodin
artwork:Jim Goodin

Re·use (r-yz) tr.v. re·used, re·us·ing, re·us·es. To use again, especially after salvaging or special treatment or processing. [TheFreeDictionary.com]

Truer words could not have been said for this the 31st release of the world wide web experimental music community, CT-Collective. The idea for ReUse began one day when I was awaiting the train, holding a plastic drink cup and subconsciously moving the straw about its cover making the familiar 'squeaky' sound. I had just recently participated in the CT-Collective project CT-Generative and wanted to lead a project. I thought why not do a recording of music produced entirely from things we often throw away and thus ReUse was born. Jim Goodin, Brooklyn, NY

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3 Andy Butler
stream trackload mp3   Pianola Sorbet
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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