OK, Hi, this is Tucker, not Jennica as the username suggests. I am hijacking her account to post my own business. I do struggle with computer things so, I hope I did this right. The files will tak a while to load because I am unclear about how to reduce the audio file size, but will figure it out soon. Anyhow, I made these while feeling isolated in the midwest. They are sketches, mostly, I am trying to figure out how to translate them to improvised performance. I am working with analog electronics and four track tape. I mostly mis use them to process acoustic sound like trombone and harmonica. I am also using a tiny early casio style rip off called an excel-o-tone. The recordings were captured on tape and then transfered to digital via audacity. I also am using 30 second tape loops with limited success, as the noise created when starting and stopping to record the loop is too audacious to use them in a more traditional way. These two are psychological farts. So it seems strange to ask for comment on them, but I feel like I'm up a brick wall. So give me some ideas. Thanks. ah, bye.
HarmonicaHum.wav
ZENorSEN.wav">
3 comments:
i like both of these quite a bit. the textural quality is beautiful. i love the plaintive, warbling whistling sound on 'zen or sen', although i have to confess, i'm iffy on the vocals. perhaps processing them in some way would help - they simply sound a little out of place. make them smudgier, more distant, more ethereal...
anyway, since you've nailed the timbral aspects pretty well, i would maybe pay more attention to structural elements, the building and release of tension, telling a story, as it were. don't be afraid of going both more noisy and more quiet, or having the pieces change direction completely.
keep us posted!
Zensen - I think the vocals are headed in the right direction. I wish they were recorded a little further from the mike, at a higher volume, and in a space so it sounds less intimate or bedroomy.
I really like the start-stop structure - I'm not entirely sure I understand how you made this, but that doesn't seem to matter - the timbre is effective because the layers are piled on and then cut into silence. Perhaps this can lead to a kind of more complicated structure.
I wonder about the relationship between the title and the vocal styles. Are the vocalizations improvised nonsense or somehow determined by some kind of process? Is it expressionistic or chance based or what? How can the non-language aspect of the vocalizations contribute to the content? How can this contribute to a more structured song or a live performance?
I am asking these questions because I really like these, especially the first, and I'd like to hear more. Keep it coming!
Tucker here. Helpful comments. I am limited by my microphone. It is dynamic and poor quality, so the best sound comes from being very close to it. So I can't really work with space, only processing to affect sound. I also find the voice sounds a little um, embarrassingly intimate. It was basically an improvised story about my aunt with lots of made up words. But I see what you mean about timbral qualities overbearing structural. I tend to overlook the unfolding over time factor as a way to develop a feeling from sound, but its real! Thanks.
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