To make a bit of a twist on the exercise, I made the room part of the recording of recordings of rooms, by recording the whole thing through these Sennheiser binaural microphones. I put all the clips into Ableton Live, and for each one pulled out a loop that sounded like either a drone, a low note, or percussion. I then sorted these loops into three corresponding rows.
I then started the first clip going, cranked it up quite loud, walked downstairs and recorded the sound of me walking up to the room.
I then manipulated the clips to create a rough sequence of drone -> low -> percussion -> low -> drone. Here’s a video showing the process:
Thanks Marc! and thanks Tobias and the Musikfestival Bern folks!
Resonant was generated in Supercollider. For this track, the project sound clips were loaded into the SC buffer, selected randomly and played each between 3 and 7 times at randomly chosen variations of playback rate. The resonance that is carried above the ambient white-noise was generated from the soundtracks using a band pass filter tuned to a lydian scale and these selected frequencies were also chosen at random. So all of the generated sounds were derived directly from the clips (cover artwork - K.J.)
Hi, I used 11 Under the railway bridge facing the street altogether with corpus, resonator, filter and reverb, paulstretched 01 Inside tire three times and in the middle appears 06 On stage with chorus and reverb, all done in ableton.
"He knew about sound recorded in the grooves of stone - ambient sound captured inadvertently. What would the sound of the streets sound like if you played them back somehow? "
In Ableton - played about with Simpler finding fragments that appealed - feeling free to mess about with them with filters and reverb
We all know stone tapes can be dangerous — but can they also be otherwise…? “Inside Plastic Bin” capitvated me the moment I heard it, so I used it for the source audio exclusively here, amplifying it with a bit of reverb, then Paulstretching to give the overtones some time to emerge. After shifting the pitch several times and exporting to separate tracks, I set the very low against the very high, eventually cutting out the middle entirely. The end result begins as below-Tuvan disturbing bass rumble and gradually morphs towards an almost Hildegard von Bingen-like choral hopefulness.
Here is mine… I came to this track through a long process and three sessions - each two hours long - with sleep and family activities (swimming) in between - as well as a phone call from BT saying they were going to cut my internet access!
1st Session: I took the various field recordings and loaded a few up into Ableton.
I started by making a few loops and adding effects. I then saved these and opened them up in Simpler and played them on keys. I then mixed this piece down and reopened a whole new Ableton session. Edited what I had so far till it sounded OK.
2nd Session: I took the previous mixed down session and played the whole thing through Max For Live IOTA effect which I love but haven’t really used. I recorded two versions through IOTA and reopened these into yet another new Ableton session and then added the earlier mixed down versions and began editing with a whole new arrangement in mind. At this point I added a few other of the original source sounds, unedited and unwarped.
3rd Session: I changed the arrangement and added a few send tracks to ush through a few extra effects. I then added a drum rack and edited some of the source audio (esp the bits from the skate park sounds) from here to create little drum sounds (short edits of EQ and Amp effects, trimming then to make drum-like hits) and some of the glitchy sounds you here near the end, the last 30 seconds or so.
Then gave up / thought it might be finished.
A collage of sounds from sources at Musikfestival Bern. Chopped and channeled through randomly gated VCAs. Some processing with hardware granular and spectral modules.
eleven empty spaces, where you were not. now you are there, but there is an absent presence, where the empty spaces were. they return as a storm of loving emptiness.
Hello! I’m very new at music production but I really enjoyed this challenge. I love trains so I ended up picking out a bunch of train/railway noises and layering them over a bed of noise, voices and interesting percussive sounds. I wanted it to sound organic, but with familiar elements throughout. I guess I ended up making it sound like a different space!
Done in Ableton Live Lite 10, I brought the voices out a bit with some filters and reversed some samples just to make it sound a bit more varied and eerie.
Hello mates, heres my bit about this week project :
Picked up some samples and loop some parts, slowed down, and post-process echoes and reverb.
I somewhat tried to stick with the static feeling of the genre…
While listening to the source material I recognized a similarity between the on stage and skatepark recording. Another one had a nice drone quality. Layering by first cuts mostly modulated the noise level, so I decided to throw some granular synthesis in the
mix to make the soundscape more interesting. The stage and skatepark recording contributed the rhythm, the tire the drone, and the street crossing a few unrecognizable spoken words.
source material:
01 Inside tire
03 Inside plastic bin
06 On stage
07 Under the bridge with skatepark in background
09 Street crossing
A few weeks went by without any submissions (I was busy putting together and performing at a local “Modular Synth” festival at Louisiana Museum of Modern Art in Denmark. Great fun!)
This small piece is entirely constructed from the recordings provided.
Sounds have been cut, altered, resonated, hexonated, reverberated, stretched and generally thrown around to create this small curiosity. Shout outs to Aalto Reverb, Sinevibes, iZotope and good old meddling by hand in Ableton…
I’ve name the piece “berning man”, in honor of the immediately upcoming Burning Man festival where good friends, but not me this year, will convene shortly…
I had no plan for this one but took it into my head that I wanted to use pitch and envelope followers. I started by pitch following the high cupboard but didn’t get anything particularly interesting. so I combined all the samples for more texture, then used the pitch follower to modulate a filter and resonance to produce a new track. Then I used the Xils 3 LE as an effects processor and used its pitch tracker, envelope follower and transient detection to create the dripping sound. I ended up reversing all the tracks. The final result is the originally combined samples, the filter and resonance track as a rauschen wind sound, and the drip combined with some reverb. No additional sounds were added.
I took 5 samples from the WAV set and considered these as rooms. I used GleetchlabX to fragment these rooms in time, each with different fragmentation size. Each room = mixer channel got two VST-FX: u-he Protoverb, for very short reverbs, and Valhalla Delay, which can be used as a wild reverb, too. All parameters have been manipulated in sessions.
The idea was to create “impossible rooms”, fragmented in time and space (the latter equals their impossible reverberation ability), which exist in the same sound. – This is a 6 min cut from different sessions. All audio material is based on the Bern WAVs. (You may notice some tonal content around 1:30, but this is just a glitch which I liked too much to cut it out.)
The most difficult part of this project is that I find these sorts of typical urban noises so relaxing, I found myself nodding off when I was auditioning the source files!
I had a lot of fun with this. I listened to the source recordings several times, cutting bits and pieces out of the different samples and organizing them into the types of sounds I heard (sweep, resonance, drone, etc). Once I had a good-sized collection, I began stacking parts, pitching things up, adding some heavy filtering and automation, and a few of the samples were pushed through various glitch effects to add some flourishes here and there. There is no other audio used other than the source recordings.
I knew I wanted to build something within the Dark Ambient genre, along the lines of Daniel Menche, Lustmord, or Controlled Bleeding.
I wanted to create a track with many rauschen rooms in constant flux. I looped all the Bern recordings, staggered them on individual tracks and grouped/bussed them according to exterior and interior. I then morphed the groups together using MORPH 2, reversed some tracks and added delays, reverbs, EQ and compression. Even though the track has a repetitive structure, it never sounds the same and constantly evolves with details from the raw recordings bobbing above and below the surface.
