Archive for mixcloud

Soundscaping, a sound designer’s mix.

Posted in Practice with tags , , , , , , , , , , , , , , , on September 10, 2013 by fgitler

Here’s how I described this mix on Mixcloud:

A collage of electronic, classical, jazz, spoken word of different types, soundtracks, and sound effects. 

An incomplete list of the artists included in this mix: Aphex Twin, Autechre, Bill Laswell & Tetsu Inoue, Boards of Canada, Brian Eno, cineplexx, Daniel Carter & Reuben Radding, David Lynch, Delia Derbyshire, Direwires & Freder, Eddie Harris, Edwin Morris, Faust, Funki Porcini, Gil Melle, Gil Scott-Heron, Glenn Gould, Grohs, Jean-Michel Bernard, John Cage, John Lee & Gerry Brown, John Lurie, Journeyman, Kevin Shields, Kraftwerk, Loscil, Marshall McLuhan, Michna, Miles Davis, My Bloody Valentine & Skylab, Neotropic, Nine Inch Nails, Patterns In Plastic, Pink Floyd, Regolith, Sigur Ros, Spectrum, Sun Ra, Surround2011, Techniken Defunkus, The Cinematic Orchestra, The Crane, The Future Sound Of London, The Orb, This Heat, Throbbing Gristle, Tom Waits, Toru Takemitsu, Transcend, Vangelis, Vorpal, We, and woob.

Soundscaping cover art












It’s a mix without any drums at all. They’re all “ambient” tracks: if that description includes spoken word, classical, jazz, rock, soundtracks, etc. At least two things are playing – in layers – at all times. It gets a bit dense in places. Assembling this mix took me back to experiments I would subject listeners to during the middle of the night at the radio station WCNI, New London. I started working as a trainee at WCNI in the fall of 1992, and hald my own show starting in January ’93. During the fundraising marathon that year, I answered phone lines for a couple of veterans who were doing something they called twisted radio. This sometimes meant playing more than one record at once – but not in a dance music/beat-matching manner. They really didn’t care what kind of collision might occur. Once I got over my initial shock at this (and other antics I witnesses), I found it very freeing, and it inspired me to use my graveyard 3-6 am slot as a laboratory for layering different sounds in all sorts of combinations. Given my overall fascination with collage, this isn’t that surprising in retrospect. One night I do recall playing 4 different copies of a Yes album, all slightly out of sync with each other. This all started before I ever started to do sound design. This kind of experimentation started first. My work as theatrical sound designer started about a year later. I also started to hear some of Negativland’s material around this time – another huge mind-opening experience.

But back in the present, or rather in the recent past: I could have kept working on this Soundscraping mix forever. The first version’s multi-track file was last saved Sept 23rd, 2102, but I probably had started a bit earlier. I stopped working on the last version on December 29th, 2012. That version was the fourth ‘revision’ since I had started. Work really began many months before that, as I sorted through my iTunes Library, bought new albums on Bandcamp and iTunes and from, and ripped tracks from my cd collection. I somehow did not end up recording any vinyl for this mix–there was already too much to sift through. However I did ask the many musical members of Ninja Tune forum for contributions, and yo can hear tracks by Regolith, The Crane and Grohs representing members of that rather diverse creative community.

At the start of 2013 I listened to it for a while, mostly on my iPhone while commuting (and enjoying the continuing “mix” as the sounds around me would blend into the mix as well), and I imagined I’d keep tweaking the mix and perhaps continue to swap out some of the selections.  Then I listened to it again this past week and just decided to call it done and get it uploaded already. I had been waiting until I found time to put a proper track listing together. Maybe I’ll still will get around to that – eventually.

It’s all put together in Adobe Audition, which was new software for me at the time I started this project. Audition let me drop tracks in as linked files, instead of importing them. This cut down on overall file space for what was already a huge set of files. Audition also let me place unconverted mp3 files as needed, instead of conventing everything WAVs or AIFFs. Reason wouldn’t do either of those things (that’s what I use for music-making and most sound design projects). The little free Pacemaker desktop app I use for some of my music mixes never could have handled all this – only two tracks can be layered at once in Pacemaker I think. In this mix with all the layers and long fades I used a 8-track layout, with often three tracks or more playing at one time.

I imagine Pro-Tools would have done nicely, but have never used that, I went with Audition, and found I learned the software much better as a result of the experience.

Drifting on the Ocean with the 64 Bar Orchestra

Posted in Practice with tags , , , , , , , , , , , , , on April 30, 2012 by fgitler

My remix from the forthcoming Ninja Remix Chain, (where each producer remixes the remix of the previous remix, without have heard the original, and so on,) has been included in a new 64 bar orchestra mix, along with the original version of Ocean Drift by Kelp, which I hadn’t heard when I remixed the remix of the remix of the remix of that track. Also, some other amazing material collected by Kovas is included in this mix. Feast your ears:

track listing:
64 Bar Orchestra – episode 3

Beat 19 By Jose B
Radioattractive By Ponymama
Comanche By Co Pilot
Ocean Drift By Kelp
Ocean Drint (Remix) By Techniken Defunkus
Forever Sound By Escape Velocity
2064 By Kultran
Yesterday’s GamesBuy By Ave Blast & Lopez
Conversations By Echo Park Feat Light Poetic
Keep It Quiet By Dj Kovas
Fire Feathers By Co Pilot