By Niels Böttche, Reinhard Gupfinger, Vanessa de Michelis and Pablo Sanz Almoguera.
With the help and support of Stephan Baumann (DKFI) and Bram de Jong (Freesound Project).
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Four dimensions of the soundscape of Porto were registered along three chosen routes within the city.
The audible range was recorded in binaural stereo together with ultrasonic frequencies, electromagnetic emissions, underwater sound and solid vibrations.
The gps coordinates of the walks were traced into a map which can be navigated with a Wii controller. It allows to change between the four sound layers, jump between the routes, move backward and forward and change the speed of the journey.
Track based on underwater recordings made in the canals of The Hague, Netherlands.
Part of the project Den Haag Onderwater.
Included in a compilation of works by students of the Institute of Sonology, presented at lokaal01 in Breda on 5th June 09.
Den Haag Onderwater is a field recording exploratory project started in April 09 and currently in progress. I brought a poster about it to the SMC09 Summer School, held just before the 6th Sound and Music Computing Music Conference at Casa da Música, in Porto, Portugal.
Den Haag Onderwater is an interdisciplinary project of urban exploration of The Hague, concentrating in the examination of its acoustic space. In an attempt to listen to this environment from an alternative perspective, it is focused on subaqueous field recordings realized in the waterways of the city.
Sounds from invisible sources and uncertain origin are blended with echoes and resonances from the everyday urban activity and sounds from the species that populate this habitat. We discover a subtle soundscape full of detail and minimal occurrences which invites to an attentive listening, unveiling its delicate richness.
Ryoji Ikeda | ‘0000000001′ / ‘0000010000′ / ‘1000000000′ | Matrix [for rooms] | Touch, 2001
CM von Hausswolff | ‘Rotterdam Canaries Or A General Attempt To Conquer A Specific Model Of Migration’ | Basic | Table of The Elements, 1998
Taylor Deupree | ‘1AM’ | 12k, 2006
Eliane Radigue | ‘Adnos III’ | Adnos I-III | Table of The Elements, 2002
Goem | ‘Twaalf’ | Stud Stim | Raster-Noton, 1997
Joe Colley | 8 phased loops (2×7”) | Stichting Mixer, 2003
Rhys Chatham | ‘part 3′ | The crimson grail (for 400 guitars) | Table of The Elements, 2007
Reche + Ubeboet | ‘Circum’ | Duae | Retinascan, 2006
CM von Hausswolff | ‘Hamburg Fatigue Or Tiny Movements Make A Mind Less Static’ | Basic | Table of The Elements, 1998
Pythagoron(TM) | Pythagoron | 1977
Phill Niblock | ‘Hurdy Hurry’ | Touch Works, For Hurdy Gurdy And Voice | Touch, 2000
ZLB | ‘Enjoyment seems beside the point’ | I Was Vaguely Aware of Something | Friendly Virus, 2008
Rafael Toral | ‘Harmonic Series 0′ | Harmonic Series | Table of The Elements, 2003
Phill Niblock | ‘Held Tones’ | YPGPN | XI Records, 2002
Biosphere | ‘Circulaire’ | Autour de la lune | Touch, 2004
György Ligeti | ‘Lux Aeterna (1966)’ | A Cappella Choral Works | Sony Classical, 1997
Alvin Lucier | ‘Wire IV’ | Music On A Long Thin Wire (1977) | Lovely Music, 1992
Daniel Menche | ‘Untitled 01′ | Skadha | Antifrost, 2004
CM von Hausswolff | ‘Empty airfield’ | Topophonic Models | Feld, 2006
Crawl Unit | ‘Untitled (Drone 2)’ | Everyone Gets What They Deserve | Crippled Intellect, 1999
CM von Hausswolff | ‘Leftover Goods In Chicago’ | Three Overpopulated Cities Built By Short-sighted Planners, An Unbalanced And Quite Dangerous Airport And An Abandoned Church | Sub Rosa, 2004
Phill Niblock | ‘Didjeridoos And Don’Ts’ | YPGPN | XI Records, 2002
Terry Riley | ‘Crucifixion Voices’ | Atlantis Nath | Sri Moonshine Music, 2002
Este volumen de las serie fue compuesto especialmente para RadiaLx08, un festival celebrado en Lisboa (Portugal) entre el 20 y el 28 de Septiembre del 2008. Se trata de un remix de transmisiones de radio, piezas de radio arte y emisiones comerciales e históricas procedentes de distintos lugares del mundo, y que datan desde los inicios del medio hasta nuestros dias. Emitido vía streaming en Rádio Zero dentro de una programación especial dedicada al festival.
This is the volume number #026 of the mix series ‘from 20 to 20000 hz’. It was specially created for the festival RadiaLx08, celebrated in Lisbon (Portugal) between 20th and 28th Sep 2008. It features a mixture of radio transmissions, radiophonic soundworks and fragments of commercial, obscure and historical radio broadcasts from all over the world, spanning since the early days of this medium to nowadays. Broadcasted on Rádio Zero within a special program devoted to the festival.
Las tres piezas estan compuestas a partir de grabaciones de campo hechas en diversos lugares de la ciudad y fueron realizadas para la presentación final de resultados de este taller. Estas y otras piezas realizadas por los participantes (unos 50min en total aprox) fueron reproducidas en loop en una instalación multicanal abierta al público en uno de los estudios de la radio house Nalepastraße, lugar escogido para la programación del último día del festival.
Además de mis propias grabaciones, en el track ‘01_first_approach’ utilicé algunos fragmentos de otras realizadas por mis compañeros Kim Laugs y John Wollaston.
These tracks are based on field recordings made at several urban locations in Berlin and were created during those days as my contribution to a final exhibition of our activities in the workshop. These pieces altogether with others created by some of the participants (spanning a total running time of 50min aprox) were presented publicly on 5th July 2008 as a continuous-loop multichannel sound installation in one of the studios of the radio house Nalepastraße, the chosen location for the programme on the last day of the festival.
In addition to my own field recordings I used source material by my colleagues Kim Laugs and John Wollaston in the track “01_first_approach”.
The drone (bourdon) effect reflects the presence of a constant layer of stable pitch in a sound ensemble with no noticeable variation in intensity. Linked to music in its designation (the drone is a permanent bass note over which other elements are laid), the drone effect can also be observed in urban and industrial soundscapes. Many technical systems generate constant sounds that are close to a drone, even if the frequencies concerned are not limited to the bass range that originally characterized it.
Sonic Experience; Ed Jean-François Augoyard and Henry Torgue
McGill-Queen’s University Press (2005) (p.40-46)
[Recommended listening: loud volume + darkened space + nice sound system with subwoofer or headphones].
sleep research facility | ‘2.1’ | dead weather machine (manifold records, 2004)
bernhard günter | ‘stone circles’ | details agrandis (table of the elements, 1998)
yen pox | ‘deliver’ | deliver 7” (drone records, 1995)
lull | ‘slow fall inward’ | cold summer (sentrax, 1994)
bj nilsen | ‘breathe’ | va - spire : organ works past, present & future (touch, 2003)
la monte young | ‘for brass’ (1957) | der zweck dieser serie is nicht unterhaltung vol. 1 (unofficial release, 2003)
eliane radigue | ‘adnos i’ | adnos (table of the elements, 2002)
catherine christer hennix | ‘electric harpsichord no. 1’ (mid-1970s) | (ubu.com, 2003)
ellen fullman | ‘work for 4’ | body music (experimental intermedia, 1993)
pablo sanz | ‘ph13_drone’ (20020.org, 2008)
eric la casa | ‘01’ | air.ratio (sirr records, 2006)
eliane radigue | ‘kyema’ | trilogie de la mort (experimental intermedia, 1998)
marhaug + asheim | ‘clavaeolina’ | grand mutation (touch, 2007)
aube | ‘ne tuoi occhi’ | reworks stefano gentile (silentes, 2005)
boris | ‘interference demon’ | dronevil - final (inoxia records, 2006)
sunn o))) | ‘nn o)))’ | øø void (rise above records, 2000)
spacemen 3 | ‘ecstasy in slow motion’ | dreamweapon (live, 1990)
time machines (coil) | ‘2,5-dimethoxy-4-ethyl-amphetamine’ | time machines
time machines (coil) | ‘5-methoxy-n,n-dimethyl’ | time machines (eskaton, 1998)
brendan murray | commonwealth (23five, 2008)
oren ambarchi + martin ng | ‘procession’ | reconnaissance (staubgold, 2000)
paul panhuysen | a magic square to listen to (plinkity plonk records, 2004)
jean-françois laporte | ‘mantra’ | soundmatters (23five, 2007)
michael j. schumacher | ‘still’ | room pieces (experimental intermedia, 2003)
francisco lópez | untitled single piece 7” (drone records, 1996)
chas smith | ‘descent’ | descent (cold blue music, 2005)
sachiko m | bar sachiko (improvised music from japan, 2004)
tucker martine | brokenhearted dragonflies: insect electronica from southeast asia (sublime frequencies, 2004)
An overview to the concept of ‘drone’ in music, illustrated with historic examples and contemporary artists.
Small research project on the topic of ‘drone’ done in collaboration with my colleague Miguel Negrão, following an invitation by Raviv Ganchrow to deliver a lecture about this topic in one of the weekly sessions of his ‘Sound and Space’ seminar, held at the Institute of Sonology in The Hague (The Netherlands).
The talk was given by Miguel on 9th May 2008. Below is the slideshow used in this presentation and here we put together some further information. In addition, two of the volumes (025 and 027) of my ongoing ‘From 20 to 20000 hz’ remix project are specially devoted to drone and can work as a complement to this.
