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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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12 Stephen Scott
stream trackload mp3   Near Death Experience
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tracks are made by close micing the airflow through syringes (20ml and 50ml) as the plunger is being drawn and withdrawn, one of these tracks recorded after a length of oxygen tuning was attached to the end of the syringe for a slightly deeper sound.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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