An arctic, icey soundscape created by applying grain resynthesis to a sample of glass cups

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GiuseppeSmhertz wrote:
el-bo (formerly ebow) wrote:
great piece :tu:

in one of the other videos, you are using a portable stereo recorder. is it a tascam dr-22wl ??
Hey, thank you!
The recorder is a Tascam DR-07 mk II, absolutely worth it IMHO considered the price and the performance :)
i'd have loved one of those, but it is not a current model, and so much more expensive to get hold of :( i really like the idea of the switchable mic position. the equivalent, current model seems to be the dr-44wl. unfortunately that seems quite a bit bigger

i am only at the beginning of my 'found sound' journey, so don't want to spend too much (the apogee one into ipad is a little bit bulky for most situations, and only mono)

so, i'm trying to decide between the dr-05mk2 and the dr22wl. can't decide which of the mic positions i would prefer :shrug: maybe better to go wide, and just keep more focused subjects as a mono

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el-bo (formerly ebow) wrote:
i'd have loved one of those, but it is not a current model, and so much more expensive to get hold of :( i really like the idea of the switchable mic position. the equivalent, current model seems to be the dr-44wl. unfortunately that seems quite a bit bigger

i am only at the beginning of my 'found sound' journey, so don't want to spend too much (the apogee one into ipad is a little bit bulky for most situations, and only mono)

so, i'm trying to decide between the dr-05mk2 and the dr22wl. can't decide which of the mic positions i would prefer :shrug: maybe better to go wide, and just keep more focused subjects as a mono
Usually I keep the default position, especially when I'm just walking around and record something on the fly. But of course, it depends of what are you going to do whit the sounds, in my case I strongly rely on manipulation so some details of the initial sound are not crucial.
Don't be afraid to record also with apparently poor devices, sometimes I achieved great result with my smartphone :D

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GiuseppeSmhertz wrote:
el-bo (formerly ebow) wrote:
i'd have loved one of those, but it is not a current model, and so much more expensive to get hold of :( i really like the idea of the switchable mic position. the equivalent, current model seems to be the dr-44wl. unfortunately that seems quite a bit bigger

i am only at the beginning of my 'found sound' journey, so don't want to spend too much (the apogee one into ipad is a little bit bulky for most situations, and only mono)

so, i'm trying to decide between the dr-05mk2 and the dr22wl. can't decide which of the mic positions i would prefer :shrug: maybe better to go wide, and just keep more focused subjects as a mono
Usually I keep the default position, especially when I'm just walking around and record something on the fly. But of course, it depends of what are you going to do whit the sounds, in my case I strongly rely on manipulation so some details of the initial sound are not crucial.
Don't be afraid to record also with apparently poor devices, sometimes I achieved great result with my smartphone :D

thanks !!

actually, i have just seen the dr 40 has come down a lot in price, and only a little more than the 22wl. it's quite a bit bulkier though

i imagine that much of my stuff will be heavily processed, but it would also need to be able to capture much cleaner signals from guitar etc

gonna try and spend some time with what i currently have (apogee one, smartphone etc). if i get the bug, big-time, then i'll invest in something a little more practical

thanks for your help

keep us updated on the blog etc :tu:

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el-bo (formerly ebow) wrote:
thanks for your help

keep us updated on the blog etc :tu:
You're welcome! :)
Probably I'm going to upload the first episode next week, it'll be a weekly thing in my plans. First ones will focused on rhythm creation and processing from odd sounds, keep you posted for sure ;)

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That water percussion is fantastic. You could make a pretty successful sample pack just from it.

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camsr wrote:That water percussion is fantastic. You could make a pretty successful sample pack just from it.
Hey, thank you! :) Something new is happening also for sample packs … :wink:

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This is all excellent stuff you're doing here, GiuseppeSmhertz. This kind of stuff doesn't get done enough by electronic musicians these days; it's all "analog synthesis" and boom boom boom boom... It's nice to see people doing sound design with environmental and object samples. Your work is inspiring to me :-) The only other artist that comes to mind when I see what you're doing is Diego Stocco. If you're not familiar with his stuff already, check him out; you may like what he's doing.
- dysamoria.com
my music @ SoundCloud

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Jace-BeOS wrote:This is all excellent stuff you're doing here, GiuseppeSmhertz. This kind of stuff doesn't get done enough by electronic musicians these days; it's all "analog synthesis" and boom boom boom boom... It's nice to see people doing sound design with environmental and object samples. Your work is inspiring to me :-) The only other artist that comes to mind when I see what you're doing is Diego Stocco. If you're not familiar with his stuff already, check him out; you may like what he's doing.

Thank you man, I'm really humbled. This alternative sound design thing took a one year full immersion to be completed, I already was into sampling but I wanted to do an entire record just with those techniques. Lot of work, so really thanks for all you guys showing interest and supporting my work :)
Of course I know the man Diego Stocco, he's just incredible, his ideas on using microphones with unorthodox sources is just stunning. Thinking of dropping him a couple of lines to have an honest feedback on my experiments :)

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Dude. Make sure you don't do that spring thing when the heater's on. You'll electrocute yourself.

On using recorded sounds: though the technology has seriously improved, there may be things to learn from the originals (Art Music composers they was, too). In fact, most television and radio programming sounds up through the 70s were recorded (and varying ways manipulated) sounds. The blaster sounds in Star Wars were done by striking an electrical power pole support wire with a mallet.
xoxos wrote: if any future civilisation were to peruse our granular synthesis demo artifacts, they would assume empty drinking glasses held some significance. what could this social movement have meant? were synthesists thirsty? archaeologists may presume that there were ritual synthesis tournaments to secure water? what a savage culture.
Only a retrogressive one. Jeez. Imagine conjuring sound from your imagination - except it wouldn't sound off, because all connexion will be psychic or some direct neural interfacing. That's fuckin futuristic, yo.

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neshel wrote:Dude. Make sure you don't do that spring thing when the heater's on. You'll electrocute yourself.

On using recorded sounds: though the technology has seriously improved, there may be things to learn from the originals (Art Music composers they was, too). In fact, most television and radio programming sounds up through the 70s were recorded (and varying ways manipulated) sounds. The blaster sounds in Star Wars were done by striking an electrical power pole support wire with a mallet.
Hehheehe, thank you for caring but the heater is not electrical, is just fed with gas :)
I concur with you about looking at the artists from the past, but I think that this is true in every field. What I find interesting is to see how people with limited technology (if compared to what we have now) used those limitations in a creative way.

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GiuseppeSmhertz wrote:
Hehheehe, thank you for caring but the heater is not electrical, is just fed with gas :)
I concur with you about looking at the artists from the past, but I think that this is true in every field. What I find interesting is to see how people with limited technology (if compared to what we have now) used those limitations in a creative way.

Indeed. There was a deterministic dialectic that occured between their impulses and intutions, and such 'boundary conditions'. That's good about the heater; I didn't think you were a dolt, but caution can't be over-rated.

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neshel wrote: There was a deterministic dialectic that occured between their impulses and intutions, and such 'boundary conditions'.
I like the expression 'boundary conditions', it fills the gap between the artistic and the scientific approach to sound and music (are you an engineer/researcher/scientist too?). And yes, caution is never enough :)

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Dear all,
it's my immense pleasure to introduce you this series of video tutorials focused on creative sound design (I promised you not so much ago). More specifically, my idea is just to share with you some of my tricks about translating unorthodox/organic sounds in musical elements that I use in my production. I thought to divide this series in several sub-parts, each one concerned with a different 'category' of sound (rhythm, melodic, SFX, etc). First part is called Rethinking Rhythm, here I talk about some techniques about creating complex, detailed percussive/drum elements out of simple "random" sounds. Hopefully this new video blog will be a weekly thing, but of course it can change depending on the kind of response that I have from you (my main goal is doing something useful and inspiring for other people). So, here's Rethinking Rhythm Episode 1: your comments, opinions and thoughts are VITAL. Lemme know! :D

https://www.youtube.com/watch?v=9rOt6JKP1XE

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GiuseppeSmhertz wrote:
I like the expression 'boundary conditions', it fills the gap between the artistic and the scientific approach to sound and music (are you an engineer/researcher/scientist too?).
I'm not. I just know enough about some things, and not about others, to get into a little bit of trouble. (That Star Wars tidbit I remember from a 'making of Star Wars' tv show I saw back in the early 80s.) What do you mean in your last?

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neshel wrote:
GiuseppeSmhertz wrote:
I like the expression 'boundary conditions', it fills the gap between the artistic and the scientific approach to sound and music (are you an engineer/researcher/scientist too?).
I'm not. I just know enough about some things, and not about others, to get into a little bit of trouble. (That Star Wars tidbit I remember from a 'making of Star Wars' tv show I saw back in the early 80s.) What do you mean in your last?
Hey man, I asked because you used the expression 'boundary conditions', which is frequently used by people in science and engineering also in not strictly scientific contexts, so I was just asking :D

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