Presentation of the Field Recording workshop (Dec 2009) at Studio Loos, 13th February 2010.
Live performance using recorded sound details from 24hrs of "everyday life".
some photos from the performance.
More at: TrendBeheer
Friday, February 26, 2010
Friday, December 4, 2009
SCHEDULE:
monday 7th and
tuesday 8th.. I will be in Bea7 for help, consultation, etc.
wednesday 9th - free work
thursday 10th morning - Class: listening to your recordings so far - trying out in combination.
afternoon - trip to anechoic chamber in Delft with Raviv.
friday 11th morning last meeting. again listening and planning the presentation.
tuesday 8th.. I will be in Bea7 for help, consultation, etc.
wednesday 9th - free work
thursday 10th morning - Class: listening to your recordings so far - trying out in combination.
afternoon - trip to anechoic chamber in Delft with Raviv.
friday 11th morning last meeting. again listening and planning the presentation.
Thursday, December 3, 2009
Opdracht - Assignment! December 2009 Phonographers
Opdracht / Assignment: working title: Sundial Plus.
Record sounds from your own everyday environment over a period of 24 hours.
This could mean: at home, outside, in school, in the city, on the beach… a kind of audio diary.
try to spread the time of recordings over the day / night
Make sure you keep a record of exactly WHEN each sound was recorded. (this is sometimes included in the filename anyway)
We will make a piece compressing all our individual “memories” or actions over 24 hours into 24 minutes (or 48, or…?)
Use whatever microphone technique you like to make the recordings.
You can attempt to record "what your ears hear"
or use the microphone to discover previously unheard sounds..
You may choose a short piece of sound from a longer recording, but don’t edit a piece together from separate parts –
keep the flow of time as it was, and the fragments separate.
Each fragment to be maximum 3 minutes long.
Maximum 10 minutes of sound in total.
Once we have the material, we can present it in different ways. I can think of two - other ideas are welcome:
– as a multi-channel or surround-sound installation where the sounds simply start playing at the relative time they were made.
- as a performance where each player re-interprets the sound – either just triggering the sound at the appropriate time, or remixing or processing his or her own sound in real time – but always keeping the flow of time intact – using the original recording as a kind of score for the treatment.
Schedule for NEXT WEEK:
(microphones and recorders can be borrowed up until friday - see the schedule at the EWP)
Monday – 10.30 a look at ambisonic recording and spatialisation.
Tuesday – All Day: individual help if needed.
Wednesday - free for individual work
Thursday <> – ( afternoon trip to anechoic chamber with Raviv)
Friday morning: last meeting. backups. plan for presentation.
Record sounds from your own everyday environment over a period of 24 hours.
This could mean: at home, outside, in school, in the city, on the beach… a kind of audio diary.
try to spread the time of recordings over the day / night
Make sure you keep a record of exactly WHEN each sound was recorded. (this is sometimes included in the filename anyway)
We will make a piece compressing all our individual “memories” or actions over 24 hours into 24 minutes (or 48, or…?)
Use whatever microphone technique you like to make the recordings.
You can attempt to record "what your ears hear"
or use the microphone to discover previously unheard sounds..
You may choose a short piece of sound from a longer recording, but don’t edit a piece together from separate parts –
keep the flow of time as it was, and the fragments separate.
Each fragment to be maximum 3 minutes long.
Maximum 10 minutes of sound in total.
Once we have the material, we can present it in different ways. I can think of two - other ideas are welcome:
– as a multi-channel or surround-sound installation where the sounds simply start playing at the relative time they were made.
- as a performance where each player re-interprets the sound – either just triggering the sound at the appropriate time, or remixing or processing his or her own sound in real time – but always keeping the flow of time intact – using the original recording as a kind of score for the treatment.
Schedule for NEXT WEEK:
(microphones and recorders can be borrowed up until friday - see the schedule at the EWP)
Monday – 10.30 a look at ambisonic recording and spatialisation.
Tuesday – All Day: individual help if needed.
Wednesday - free for individual work
Thursday <
Friday morning: last meeting. backups. plan for presentation.
Tuesday, March 24, 2009
More Field Recording Photos
Pablo has posted even more photos at...
http://www.flickr.com/photos/pablosanz/sets/72157615704733231/
http://www.flickr.com/photos/pablosanz/sets/72157615704733231/
Wednesday, March 18, 2009
Recording in the sun.
using hydrophones, parabolic reflectors and other microphones to explore the sounds above and under the sea.
Monday, March 16, 2009
Casper Schipper - Feedback for Basedrum
here's the link to Casper's video of the piece he made at the Installation Workshop last December.
http://www.youtube.com/watch?v=uMWYm1fbh4k&feature=channel_page
http://www.youtube.com/watch?v=uMWYm1fbh4k&feature=channel_page
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