Aya Shimano-Bardai’s notes in the abstract for the piece “Coalescence”: “Coalescence (2016) is a seven minutes and thirty seconds long acousmatic stereo piece. The compositional structure delves into the transitions between contrasted sonic spaces – open and clustered, distant and close, sharp and mild, etc – by underlining its varied acoustic elements. Mainly based on […]
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Antonio D’Amato – Körper
Antonio D’Amato’s fixed audio media piece “Körper” is a fascinating experience in timbre and sonic palette. From his abstract: “Technically speaking the composition uses exclusively a short audio recording of a MRI test. A large number of processes and signal elaboration modules are applied in order to subdue the crude audio sample to the compositional […]
Read MoreField Recordings – Tips (Tool #55)
One of my favorite parts of the compositional process of many of my pieces is taking field recordings. I enjoy taking my Zoom H4n with its windscreen and a pair of headphones, and going out to record sounds. I then have a library full of different timbres, attacks, durations, and sources of audio that I […]
Read MoreTool #29: Visualize Your Mix!
The term “stereo” refers to “stereophonic sound”. From Wikipedia: The term stereophonic sound or, more commonly, stereo, refers to any method of sound reproduction in which an attempt is made to create an illusion of directionality and audible perspective. (http://en.wikipedia.org/wiki/Stereophonic_sound) Humans prefer to know where the sound is coming from, and all good mixes can […]
Read MoreTool #21: Not Letting MIDI Fool You (and 10 Ways It Can)
There are many great virtual instrument libraries out there. They can take old 80s synths for your violins and make them sound a million times better. They and all other MIDI playback devices can bring life to a piece. But, beware the MIDI. It can provide you with a more realistic sound, but not a very […]
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