Triumph Elektro
Aug 18, 2022, 08:49 AM
Composition by Eric Klein.
"I chose to concentrate on just "8 bars" of my staccato typewriter sample (it's actually two splices of "4 bars" stuck together.) Listening to this loop in my MPC sampler, I tapped out a tempo and worked from there. Now I took this sample of mechanical rhythm, and one "bar" at a time, I reproduced the hits of the typewriter keys as hits of Control Voltage (electrical signal that can be interpreted as musical information by a type of synthesizer or drum machine). Now I played around for a couple of days with inputing that CV into some of my synths.
"I made a handful of long recordings of this playtime, jamming with different ideas, enjoying the discovery of a slow turn of a knob, or patching different electronic signals into unlikely inputs and listening listening listening to the results in real time. I am experimenting. I am in dialogue with my gear. Later in the day I will listen back to these long recordings while taking a walk or reading a book and see if I can't decide which ideas were worth repeating.
"I settled on an instrumentation. I recorded about 17 minutes worth of this final configuration and then slept on it. The next day I cut together a version under 4 minutes using primarily two of the final takes (with a 4 bar "bridge" from an earlier 37 minute take with an alternate melody and instrumentation)."
This is part of the Obsolete Sounds project, the world’s biggest collection of disappearing sounds and sounds that have become extinct – remixed and reimagined to create a brand new form of listening. Explore the whole project at https://citiesandmemory.com/obsolete-sounds
"I chose to concentrate on just "8 bars" of my staccato typewriter sample (it's actually two splices of "4 bars" stuck together.) Listening to this loop in my MPC sampler, I tapped out a tempo and worked from there. Now I took this sample of mechanical rhythm, and one "bar" at a time, I reproduced the hits of the typewriter keys as hits of Control Voltage (electrical signal that can be interpreted as musical information by a type of synthesizer or drum machine). Now I played around for a couple of days with inputing that CV into some of my synths.
"I made a handful of long recordings of this playtime, jamming with different ideas, enjoying the discovery of a slow turn of a knob, or patching different electronic signals into unlikely inputs and listening listening listening to the results in real time. I am experimenting. I am in dialogue with my gear. Later in the day I will listen back to these long recordings while taking a walk or reading a book and see if I can't decide which ideas were worth repeating.
"I settled on an instrumentation. I recorded about 17 minutes worth of this final configuration and then slept on it. The next day I cut together a version under 4 minutes using primarily two of the final takes (with a 4 bar "bridge" from an earlier 37 minute take with an alternate melody and instrumentation)."
This is part of the Obsolete Sounds project, the world’s biggest collection of disappearing sounds and sounds that have become extinct – remixed and reimagined to create a brand new form of listening. Explore the whole project at https://citiesandmemory.com/obsolete-sounds