I have been searching for ASMR references within sound art. This article on Holly Herndon is one of the few I managed to find so far. I was familiar with her work before but never really went in detail in my research. The article speaks of the body – technology dynamic in the digital ‘post-human’… Continue reading Holly Herndon – voice-body, sousveillance
Category: Spacialisation
Yes yes, but why?
As I am starting to think of mixing I am questioning my use of multichannel sound. How can I make use of it in the best way? Does it need to be in multichannel? I am quite set on sticking to simple sounds (clicks, sines, breaths), which I have failed last year ending up with… Continue reading Yes yes, but why?
A Thousand Words for Weather
A series of sound installations across three floors at the the Senate House Library, born as a collaboration between the library and Artangel. It explores weather as both local and global phenomena, the connection between the environment, language, sound and silence. Instigated by writer Jessica J. Lee who worked with a group of other UK-based… Continue reading A Thousand Words for Weather
Concatenative Synthesis
In this interview Florian Hecker discusses some of his influences and hints at some of the processes he may be using. The main influences I took away were Iannis Xenakis and Curtis Roads. The synthesis method mentioned is the stochastic synthesis attributed to Iannis Xenakis which involves playing samples of a sound in a randomized… Continue reading Concatenative Synthesis
Envelope Extraction?
I have been thinking of possible ways of achieving the effect Florian Hecker is using in Chimeras on the voice tracks. Borrowing one sound’s envelope and lending it to another sound. I’m thinking it might be something I could use either in my audio paper when speaking about the bilingual brain or in the spatialisation… Continue reading Envelope Extraction?
Composing with Absent Sound
Otoacoustic emissions are something I have been interested in for a long time, ever since discovering the work of Maryanne Amacher. Engaging the ear in such a way that it starts producing its’ own music is something that would suit the theme of embodiment I am looking into these days. It also interests me from… Continue reading Composing with Absent Sound
Florian Hecker
https://www.jstor.org/stable/43832507?searchText=surround+sound+psychoacoustics&searchUri=%2Faction%2FdoBasicSearch%3FQuery%3Dsurround%2Bsound%2Bpsychoacoustics&ab_segments=0%2Fbasic_search_gsv2%2Fcontrol&refreqid=fastly-default%3A94eda45343339fcc07b612c6031b4946&seq=5#metadata_info_tab_contents Weighty questions are implied: how do we perceive sound differently in different physical contexts? How do we understand a text differently when we read it, read it aloud, or when it is read to us? What effects do the narrator’s accent, tone of voice and choices of emphasis have? What does the process of… Continue reading Florian Hecker
Surround Mixing Tips
A few tips I found useful and would like to return to next time I enter the Composition Room. ‘DON’T ever send signal to multiple channels at equal level One guaranteed way to ruin your surround mix is to send signals to multiple channels – especially adjacent channels such as the center, front left, and… Continue reading Surround Mixing Tips