A harmonic is "an overtone accompanying a fundamental tone at a fixed interval, produced by vibration of a string, column of air, etc. in an exact fraction of its length". My first encounter with them was as a teenager, watching mystified as Rory Gallagher moved his hands down the neck but the notes played got higher! I eventually learned what they are and to this day, remain fascinated by the bell-like purity of guitar harmonics. For this project, harmonics of any kind were deemed acceptable, even "comb filter resonance" which Michael Peters assures me are harmonics.
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I sampled a single harmonic played on acoustic guitar. The entire track is built from this one sample, which is treated with a number of fx and sequenced.
Your first CT offering Andy, but I hope it won't be the last. You've managed to squeeze an amazing sonic variety from one loop, imagine if you'd used two loops!
Harmonics, created on guitar using the same technique as Hans Reichel Playing behinds the bridge creates a lots of subtle harmonic tones. The recorded sounds are then manipulated in Wavelab with some vst effects.
Roger pleased to see you in Ct...., wonderful how connected we all are in these various communities. I hear your dense dark northern tones throughout, good piece.
Harmonics in this composition are created by bowing several small strips of metal with a toothbrush. Besides, I use a rubber bow rubbed on the wood which created rough harmonics. "Unexpected Harmonics" is a melancholic composition.
"The Resonant World" is based on comb filter resonance (a special case of harmonics). Underwater recordings of pebbles moved by surf get harmonized by a comb filter drone; later in the piece, drum sounds get harmonized by comb filtered guitar chords. The vocals are based on a granular synthesis treated excerpt of Djurdjura's piece "A Dezzi a Saa". Mastered by Walter Brühn
michael, your work has reached such a level of maturity that everything you do, either more accessible or experimental, is always of the highest quality.
this is the kind of track you'd expect to hear from an experimental music group that contains sampled piano harmonics, and not what I did :) one of my favorites.
Four string American made Fender Stratocaster (tuned E B E F# - for Lydian Barre Harmonics) (I just left two strings off of it, because I'm a dweeb who is only posing as a guitarist) Prototype LP-2 Mini Looper with a couple of brand new looping options I added: 1/4 speed and Random Retrigger Electro Harmonix Freeze pedal (very hip pedal that my lovely wife just gifted me on HER birthday - that's how cool she is). VOX DA-5 5 watt, battery powered practice amp. Two separate improvisations (unsynced) recorded in Mono with no effects (ATM 4033) into Audacity on a MacBook
I used recordings made in Pecs, Hungary and a sample from a live performance with The Hat Effect. To create the harmonics I fed 3 tracks of the four-track recorder with the same recording, each with a slightly different pitch. The development of the piece is of course due to the many recorded fragments I used. Extra voice on "Welcome to the Crypt" is by Jeff Surak.
raül bonell: electronics / imma tomàs: piano. lo-fi recording of piano overtones into five12 numerology, triggered using the onboard 'evolve' functions. idem with the internal OS X speech voices, driven by numerology algorithms. incidental sounds build ITB using additive synthesis (which was born out of the overtones physics!) no samples, except for the piano.
A telecaster, tuned to E F C G B C generated all the harmonics on this track using fingers and a violin bow. Post-processed and arranged using Ableton Live. For more info, see www.looping.me.uk
Harmonics generated by electric guitar and then processed by Line 6 M9, primarily the Frequency Shifter/Ring Modulation settings, plus various delays and reverbs, with post-production re-pitching in Acid Pro 6. At various points, the random harmonics generated by a Fernandes sustainer guitar were added to the mix.
You have a disconcerting knack for producing my favourite track on almost every project you submit to. Once again, an intelligent, thoughtful and intriguing piece of music!
Nick - that's most generous - thank you. You keep on bringing these intriguing concepts to the CT table, it's always such a pleasure to explore the possibilities they suggest.
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