[MedMud/Machinefabriek - noise] head-on collision
-
- KVRAF
- Topic Starter
- 3964 posts since 31 Aug, 2003 from In a foreign town, in a foreign land
Hi,
Some weeks ago I promised to post some excerpts from a two-hour improvisation Rutger and I did. It turned out quite noisy.
Here's some clips:
Noise 01 2 minutes, 192kb/s, 2.8MB
Noise02, 4 minutes, 192kb/s, 5.5MB
Noise03 (comb-filtered), 2 minutes, 192kb/s, 2.8MB
This one is a bit longer and works as a self-contained track. From the initial noise a comb-filtered drone emerges which disintegrates into noise again.
Noise04, 8.27 minutes, 192kb/s, 11.6MB.
Sometimes the stereo-image is slightly b0rked, this was because of a cable which was plugged in incorrecty. Messes with the equilibrium. I don't mind- it was great fun, some of the results are very nice and it was a cool introduction to each others way of making music.
We'll be collaborating again later on, with a little more focus.
Rutger's site is here: http://www.machinefabriek.tk
Gear used: Boss digital Delay and Pitch Shifting Delay, Korg Kaos Pad, Ibanez DS7; Cracklebox, radio.
Computer with AudioMulch, Electric Mistress feeding back into mixer for, well, feedback.
Watch your ears,
Groet, Erik
Some weeks ago I promised to post some excerpts from a two-hour improvisation Rutger and I did. It turned out quite noisy.
Here's some clips:
Noise 01 2 minutes, 192kb/s, 2.8MB
Noise02, 4 minutes, 192kb/s, 5.5MB
Noise03 (comb-filtered), 2 minutes, 192kb/s, 2.8MB
This one is a bit longer and works as a self-contained track. From the initial noise a comb-filtered drone emerges which disintegrates into noise again.
Noise04, 8.27 minutes, 192kb/s, 11.6MB.
Sometimes the stereo-image is slightly b0rked, this was because of a cable which was plugged in incorrecty. Messes with the equilibrium. I don't mind- it was great fun, some of the results are very nice and it was a cool introduction to each others way of making music.
We'll be collaborating again later on, with a little more focus.
Rutger's site is here: http://www.machinefabriek.tk
Gear used: Boss digital Delay and Pitch Shifting Delay, Korg Kaos Pad, Ibanez DS7; Cracklebox, radio.
Computer with AudioMulch, Electric Mistress feeding back into mixer for, well, feedback.
Watch your ears,
Groet, Erik
Pop music delenda est.
-
- KVRAF
- 12235 posts since 18 Aug, 2003
Fantastic.
In the smaller clips, there is the sense of somewhat tentative improvisation, although I guess it's hard to fully grasp the grander thing in the short bits. But during the longer piece, there are some stretches where you guys really fell into a groove. Some very nice interplay to be heard, and some excellent drone sections.
I can't wait to hear more of what's to come. Agreed, a more focused piece would be a good next step, turn the two styles into an elegant whole.
I hear what you mean about the stereo balance though.
In the smaller clips, there is the sense of somewhat tentative improvisation, although I guess it's hard to fully grasp the grander thing in the short bits. But during the longer piece, there are some stretches where you guys really fell into a groove. Some very nice interplay to be heard, and some excellent drone sections.
I can't wait to hear more of what's to come. Agreed, a more focused piece would be a good next step, turn the two styles into an elegant whole.
I hear what you mean about the stereo balance though.
- KVRAF
- 1955 posts since 5 Sep, 2003 from Denmark
Really interesting. I prefer Noise3 slightly - but all are good. Are you going to do this in front of an audience?
Why more focus? Bring a few more colours to you sound palette and keep the frantic energy - IMHO.
And now I want my Cracklebox - been signed up for ages...
Why more focus? Bring a few more colours to you sound palette and keep the frantic energy - IMHO.
And now I want my Cracklebox - been signed up for ages...
-
- KVRAF
- 3588 posts since 13 May, 2004 from montreal
Some very nice noise here Erik. The first (which made me think in parts of CCCC/Astro) and fourth tracks in particular have an almost psychedelic kind of flow... I find the comb filtering a little excessive at times, though that's just a question of taste I suppose (on the long track it seems to work better), and I find that they all seem to lack low end somewhat. Personally I would have compressed the final mix a little more severely and probably run the whole thing through a little additional saturation/overdrive for that extra little push over the edge.
But, minor comments. It's quality noise, and there can never be enough of that in the world. It's good that more of this sort of thing is creeping in here to corrupt the mainstream masses lately.
But, minor comments. It's quality noise, and there can never be enough of that in the world. It's good that more of this sort of thing is creeping in here to corrupt the mainstream masses lately.
-
- KVRAF
- 7672 posts since 9 Nov, 2003 from Netherlands
Will listen to the bits in a bit, but I was roaming around rutger's place and saw about the 'kelder-performance' would have been cool to be there (although then again I was driving into england that day)
Some very interesting stuff he's doing
Some very interesting stuff he's doing
-
- KVRAF
- 7672 posts since 9 Nov, 2003 from Netherlands
I must say I loved the 2nd one; great interplay
And the last one is just fantastically inspiring
It only missed a TM1
And the last one is just fantastically inspiring
It only missed a TM1
-
- KVRAF
- Topic Starter
- 3964 posts since 31 Aug, 2003 from In a foreign town, in a foreign land
First of all: thanks for the comments. Thanks very much.
The bits I posted are where the energy just soared. There are more places where this happened, but in 90 minutes of recording it's going to be a bit tricky to get the right bits. In context it just works differently.
Frantic energy is good though.
I like it when short bursts of sound are sent through it, though, or when frequency-shifts occur. Like a jet of water hitting thin sheet metal.
And in the last track, everything just falls together. Total alchemy.
This may be one of the reasons there's little action in the bottom end (apart from short bursts here and there) and all the harshness in the "chainsaw region".
Something to think of for the next session, to be sure.
Thanks again everyone, much appreciated.
Groet, Erik
Yes, it was very much a case of "plug everything in and go". No plans, no concept, very intuitive. It's hit and miss, where the misses were a bit meh but the hits hit pretty hard.shamann wrote:In the smaller clips, there is the sense of somewhat tentative improvisation, although I guess it's hard to fully grasp the grander thing in the short bits.
The bits I posted are where the energy just soared. There are more places where this happened, but in 90 minutes of recording it's going to be a bit tricky to get the right bits. In context it just works differently.
I wonder what's going to happen. It could very well be very quiet instead.But during the longer piece, there are some stretches where you guys really fell into a groove. Some very nice interplay to be heard, and some excellent drone sections.
I can't wait to hear more of what's to come. Agreed, a more focused piece would be a good next step, turn the two styles into an elegant whole.
Maybe. Robert from Vance Orchestra organises gigs in Arnhem semi-regularly. He's booked Rutger before, so who knows.respirator wrote:Are you going to do this in front of an audience?
We want to expand on what we've done here, and build a more coherent set. More tension. I think.Why more focus? Bring a few more colours to you sound palette and keep the frantic energy - IMHO.
Frantic energy is good though.
//fires up Google to find out more about CCCC/Astrodystonia_ek wrote:Some very nice noise here Erik. The first (which made me think in parts of CCCC/Astro) and fourth tracks in particular have an almost psychedelic kind of flow...
Mulch's comb-filters are very raw, and tend to dominate the mix. When agitated with noise they get very harsh, and there are sections of the recording where it started to draw attention away from everything else that was going on.I find the comb filtering a little excessive at times, though that's just a question of taste I suppose (on the long track it seems to work better), and I find that they all seem to lack low end somewhat.
I like it when short bursts of sound are sent through it, though, or when frequency-shifts occur. Like a jet of water hitting thin sheet metal.
And in the last track, everything just falls together. Total alchemy.
Hmmm, Kjærhus' Classic Master-Limiter squashed everything severely, I have to say. I put it before SoundOut on every project but it hardly ever has to work this hard.Personally I would have compressed the final mix a little more severely and probably run the whole thing through a little additional saturation/overdrive for that extra little push over the edge.
This may be one of the reasons there's little action in the bottom end (apart from short bursts here and there) and all the harshness in the "chainsaw region".
Something to think of for the next session, to be sure.
Subversion Is The Way.It's good that more of this sort of thing is creeping in here to corrupt the mainstream masses lately.
Bouncing bursts of noise around in what's basically one big feedback-loop is fun! Like a tape-delay, only... weirder.mystahr wrote:I must say I loved the 2nd one; great interplay
It certainly is. Thanks.And the last one is just fantastically inspiring
Thanks again everyone, much appreciated.
Groet, Erik
Pop music delenda est.