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@makeaninstrument-blog
MadeAnInstrument
This video shows the main sounds that my instrument can make. I stripped it down to the most exciting and effective sounds. The end result is a mix of contact mic stuff, feedback loops and the interaction with it from other sources like the tape recorder.
The main areas of sound my instrument covers are scrapes, impacts and tones. Enjoy! (No, it does not have a name)
Live in Bristol
Here’s a pic of my setup for the performance with the ensemble @The Island in Bristol. And Jordan throwing up some random gang signs. And the mastermind bossman CMT lecturer at Bath Spa Andy Keep directing things.
Feedback Loops 4 lyf
I set up a feedback loop using the send/return on the little Behringer Mixer. This works well to create sustained tones or clicks and pops. The feedback can be shaped through the channel EQ to obtain a wide range of frequencies.
I set up a feedback loop on my delay pedal, which used in “Analog” mode generates some rotation type of sounds.
I also tried to setup self input feedback loops with a guitar distortion pedal (DS-1) and a cheap guitar FX unit, but the result was sounding quite dull, so I decided to stick with delay and mixer.
Other Experiments
New experiments: contact mic on classical guitar, and processing through Ableton.
Tried effect like spectral blur for rotation sounds changing the buffer size for length of rotation motion. Saturation (high and low) works well with iron sponge on strings for constant crackly texture (wide range of sound for fire and rain effects). It offers the possibility of being a constant texture through constant motion of sponge.
Scraping the comb on the bridge against iron frets makes a good “rain on a porch” sound with metallic quality. It can be played as a constant texture.
Playing natural harmonics and sending the audio to a return channel with a very long decay reverb to create tonal textures.
PERFORMANCE NOTES
I have been cutting as much lows as possible to avoid unwanted contact mic noises and rumbles
The only sustained tone sound I could make would be rubbing the metal scourer against the tile, which creates an interesting texture, but it would be still very quiet, so it’s not suited for busy sections of the ensemble performance. dropping chain on tile = sounds good!
Ceramic tile, Polystyrene, wood, paper, cardboard.
Materials I have been working with and their textures.
Motions like rotations are possible but the instrument needs to have stability so that I could use both hands and do a continuous movement instead of using one hand to hold the tile/paper/surface still on the table. I fixed this by taping the object to the table.
50 SHADES OF SCRAPE
(all the tools I have used to excite objects)
pen, pencil, metal scourer, sponge, double edged comb, metal chain, mini vent.
First Rehearsals And Additions To The Instrument
During the first rehearsal I found out that the only motion that would produce “interesting” sounds would be scrapings. Since most of these objects are played on “micro-sound” level, it becomes too difficult for the contact pics to properly capture the sonic features, where the “contact mic sound” takes over, with boxy dull properties. Overall only noisier sonically, and no possibility of producing tones.
Motivated to stay within the acoustic/real world objects area I went on a trip to Poundland and Maplin’s to find more random cheap objects that would have the potential to make interesting sounds. The updated set of sound tools included a rolling metal ashtray, a small electric fan, a little slab of polystyrene, and a small tile. Other tools I used as exciters are a double sided comb/brush, a scourer, a steel scourer.
Early Stages
The early stages of my instrument building consist of experimenting with everyday life objects. Using a contact mic I tried different placements on objects like an empty bean can, pieces of cardboard and sheets of paper. I used a guitar boost pedal between the contact mic and the mixer as an output control and mild tone control.
The different ways I would excite these objects would be scraping with a pair of scissors, tapping with fingers, cutting slowly, ripping them in half slowly, wobble the sheet of paper in the air, write on it with a pencil (draw circles faster for higher pitch).
An intimate performance demonstration of Eric Leonardson’s Springboard, a self-built instrument made from coil springs, wood, and other everyday objects, amplified…
There are many ways to go on about making an instrument for electroacoustic performance. Digital Data processing, analog devices, hacking analog devices, live materials, hacking traditional instruments. Creative abuse often takes over, where an object is used in a different way from the one it has been designed for. In my production I rely heavily on Digital signal processing, working with Ableton, so I decided to experiment with “real-world” objects for my Instrument.
I have always been fascinated by “micro-sounds”. By that I mean sounds that wouldn’t be heard unless magnified through some sort of amplification. I like to think of that as a parallel to the use of shallow depth of field in photography, where the focus tightens on the smaller parts of the image, therefore the details become the main course.
In live electroacoustic the main microphones to capture sounds are contact mics (feedback is more easily controlled, they are applied directly on surfaces).
Find more electroacoustic madness by Eric Leonardson here:
http://ericleonardson.org/
A seminal figure in improvised music and founding member of the AMM, Rowe helped define the genre not simply on stylistic but ideological grounds--improvised music…
More electroacoustic madness from table top guitar’s God Keith Rowe.
Legendary innovator, UK 'tabletop' guitarist Keith Rowe has explored the guitar as a primary source of pure sound, extending it with an array of objects and ...
Another inspiration for this project is table top guitar specialist Keith Rowe. This video features an Interesting interview where he gives insights on his artistic perspective on the use of table top guitars compared to normal guitars. His performances are totally improvised and there is no discussion about it before or after. This video inspired me to try and experiment with small electric fans and metal sponges to excite objects, and guitar pedals to shape sound.
MAKE ELECTROACOUSTIC NOT WAR
Hello Internet, my name is G and I am an artist/electronic music producer currently based in Bath (UK).
On this profile I will share with you my ventures in the realms of electro acoustic improvisation. In the next couple of months I will make an instrument from scratch and will document the journey with pics, audio recordings and videos.
The final aim of me building an instrument is - apart from making badass eardrums tickling sounds - to perform with 12 other Creative Music Tech heads from Bath Spa University. We will be performing in Bristol sometimes in May, more infos to come.
Enjoy!