Archive for samples

The Continuing Adventures of Techniken Defunkus

Posted in Practice with tags , , , , , , , , , , , , , on April 17, 2012 by fgitler

2012 has been quite busy thus far, Musically. Although many of these projects were completed earlier, they’ve only been released this year. There are even more projects still in the pipeline, but I wanted to summarize what’s just recently come to light.

The Woodcut Collage EP
As I told Kovas, the 64 Bar Music maestro, for a blog post on this subject, “The Woodcut Collage EP is actually a re-issue of sorts. I decided to put it on Bandcamp as it’s sort of a time capsule… The music itself is very mixed, style-wise, but I think there’s a common thread that ties it together. I tend to make rules to follow, almost just to turn it all into a bit of a game…” He also calls my music “broken jazz”. I’ve been called much worse! You can find the full EP here: The Woodcut Collage EP

Shooby Shooby Do Yah!
I took a stab at a remix of a track from Mocean Worker’s 2011 album Candygram For Mowo! and was pleasantly surprised when Adam Dorn (a.k.a. Mocean Worker) decided to release an EP of four remixes digitally. Adam and I share a somewhat intertwined background in Jazz, and so I decided to give his track my best attempt at an old school walking bassline. Yes, I decided to cobble a new bassline on my version of a song by a professional BASS PLAYER! I liked the way it came out. Trumpet by Steven Bernstein (recorded for the original) gives the track such great character. It was a pleaseure to remix with all the great material the original provided… A link to the EP on iTunes EP: Shooby Shooby Do Yah! (Techdef Remix)

Clear Off!
I was flattered to be asked to remix Kelp’s track Clear Off, as one of seven people who ended up doing so. The original, and all the remixes were released in late march as an EP on Bandcamp by the 64 bar music label: Clear Off Remixes It’s fascinating to me to hear how many different directions producers take with the same material. There’s another remix project with a twist coming out soon with some of the same people involved. Stay tuned!

7MMX : Bisk Mix
I also contributed a seven minute dj mix to the tenth collection of 7 Minute Mixes, titled 7MMX. My set was devoted entirely to the Japanese electronic artist Bisk, who has recently re-emerged and has been threatening to release a new album! Bisk will be remembered for his sample mangling and electronic jazz experimental albums that came out on the Sub Rosa label over a decade ago. This little summary, and other great 7 minutes can be found here: 7 Minute Mix 10: 7MMX
Recent music by Bisk can be heard here: Bisk


Strange radio sounds captured and re-used

Posted in Uncategorized with tags , , , , , , , , , on April 4, 2012 by fgitler

I recognized a snippet of the first track from an old Stereolab track,
and Wilco used a piece most famously. Then I heard the same snippet from the Stereolab track on this Mocean Worker song: watch and listen to ‘Earth’ by MOWO I never knew what these were or that they had been compiled like this until asking Adam Dorn (aka Mocean Worker) yesterday — who said it was the sound collagist and hip-hop renegade Steinski who tipped him off to THE CONET PROJECT!

“Why is it that in over 30 years, the phenomenon of Numbers Stations
has gone almost totally unreported? What are the agencies behind the
Numbers Stations, and why are the eastern European stations still on
the air? Why does the Czech republic operate a Numbers Station 24
hours a day? How is it that Numbers Stations are allowed to interfere
with essential radio services like air traffic control and shipping
without having to answer to anybody? Why does the Swedish Rhapsody
Numbers Station use a small girls voice?
These are just some of the questions that remain unanswered.”

Odd, beautiful, puzzling, hypnotic, disturbing. Worth sharing.

Creative Commons licensed for non-commercial use. Wilco had to go to court for their use apparently.
Hear and download the full collection here

Sound effects & where to find them

Posted in Practice with tags , , , on April 29, 2010 by fgitler

Years before I progressed to musical compostion/digital constuction of music/sound for stage productions I had to provide sound effects for productions. When I directed for the first (and only) time, during my senior year of high school, we had to have the required sound cues (for Joe Orton’s The Ruffian on the Stair). Doorbell. Gunshot. Glass breaking.

A side note on timing

If a sound effect and a performed action need to be synced or timed with precision, using a recorded sound may not be the best option. in Ruffian we actually used a starter pistol on stage, rather than try to time the gunshot precisely with a recording. The doorbell was, actually a doorbell, bought at a hardware store and wired up on a board, with a button that a stage hand would press offstage–this way the sound came from the right place as well. Like the gunshot, this was not a panned sound coming through the stage right speaker, but the real thing. But breaking glass? That had to occur in tandem with a fish bowl tipping over on a table, supposedly caused by the gunshot. A stagehand was to — at the sound of the gunshot — quickly pull out the fishing line taped to the bottom of the bowl. The sound operator was also using the onstage gunshot as his cue, to play the glass breaking sound. Tricky. ‘Tragedy’ struck when the tape didn’t hold, and the bowl only wobbled. (Though worse was when the dead man started coughing after his demise.) This kind of thing HAS to be rehearsed in technical rehearsals (tech), multiple times, even it it means buying more fishbowls or whatever. (FYI no fish were harmed). Sometimes the answer is not to show it–just let the audience hear it and imagine. If the director is agreeable, that may create the illusion more convincingly. It’s all an illusion, after all.


But where do you get the right breaking glass sound? Or what if you need a particular gunshot sound (machine gun, cannon, etc.)? Animal sounds? Some sound designers will have Foley setups, record the glass–record at a firing range or at a zoo even with a portable recorder. But often we don’t have the time, equipment, budget, or experience for this approach. So we hunt down existing sounds. Thankfully today we have the internet, but you many not find everything for free. A few places to start:

Find Sounds is great in that you can narrow the search by format and quality, and that you can preview the sounds right in the search results. I haven’t looked at much, but it has a community based, creative commons approach–interesting.

Soundsnap was a free community, but has gone commercial. It looks like there are still some free sounds though.

Absolute Sound Efects
and on and on. Google is your friend of course. And then it’s up to you to make use of them. We’ll talk about free software such as Audacity in another post.

Old School
Then there are other places to hunt for your sounds. I tend to buy up old sound effects records (yes, vinyl LP records) at record fairs and thrift shops. Since these are NOT the Led Zepplin album that your uncle used to play when inebriated, they tend to be in good/decent shape, thus have minimal crackle/vinyl noise which you (usually) will not want (though they will need a cleaning). I have also bought cds, and environmental records at various points. I’ll do another post about my personal recorded library at another point. I seem to collect records for the strangest reasons…

Hope this helps you find what you need. Happy hunting.