Archive for the ‘metallic’ Category

The Era of Fake News

Saturday, February 18th, 2017

The Era of Fake News was done by using a 70’s fuzz pedal with a cardioid mic to sample gongs, cymbals, singing bowls and chimes. These samples were then loaded into Sonar’s Matrix View and used to create a performance which was captured. Massive reverb was added.

The Era of Fake News Sanatized is the same track using Paul’s Extreme Stretch’s tonal only switch – no time stretching.

If you want to sample it – please give me a credit and link back.

Morpheus Wing in 26 edo

Saturday, December 24th, 2016

Picture by Chris Vaisvil

Morpheus Wing in 26 edo uses soniccouture’s Morpheus in 26 nots per octave tuning. Played on a AKM320 32 note keyboard with use of the octave keys.

For bowed gongs and golden ration tuned piano (and bonus track)

Thursday, August 13th, 2015

Music Studio

Bowed gongs and a piano tuned to a Golden ratio derived tuning (see below) and driven by Melodyne’s polyphonic interpretation of the gong track.

1/4 comma meantone tuned piano driven by the same gong derived score.

Golden tuning created and explained by Jake Freivald

Three Pieces Derived From a Bowed Metal Plate

Friday, October 24th, 2014

IMG_5233 Metal plate used to perform seen in vise and clamped to workbench.

They Ripped my Metal Heart Apart is a composition for bowed metal plate. The plate was held in a vise that was clamped to a work bench and three recordings were made each with a different clamping point of the plate. The sound was recorded via piezo pickup on bench and microphone in room. Post processing consisted of delay, reverb and panning with slight compression of the master.

The Space Between the Atoms for bowed gamelan in harmonic series / subharmonic series tuning using pitches derived from the original metal plate performance. Sonar X3 was used to extract the pitches and convert them to midi. The extracted pitches were transposed down by an octave. Significant “JI Growl” occurs through out the piece.

A Strange Orchestra is a trans-tuned 6 edo version of the original metal plate performance using melodyne single track to process the recording. At about 3 minutes in the sound becomes (to my ears) orchestral and far removed from the harshness of the original bowed metal plate performance.

Step 11 (Harmonic Series)

Wednesday, October 8th, 2014


Step 11 is an ambient composition using field samples I made, wrought iron triangle and Sonic Coulture’s EP73 Deconstructed and Scriptorium for retuning to 7 limit just intonation and unoctave reduced harmonic series. William Victor Newbold appears in a cameo guest appearance courtesy of SoOn multi-arts.

Fishing Weight Prepared Aeolian Harp (inharmonic series)

Friday, September 12th, 2014


This is a second variant of my prepared Aeolian Harp – using slit ball lead fishing weights I create a large inharmonicity in the strings. Guitarists will be familiar with the phenomenon of old corroded and / or dirty strings losing proper intonation. This is forcing the effect to an extreme. Each picture can be enlarged. This works well on guitars too. A gong like sound often results, though when rain hits hard on a string a bell like tone can be produced. I apologize for the hiss. My choice is to live with the hiss and not detract from the full sound and muffle the top end with noise reduction. And on that subject, the added weight here is concentrated and does not present a large surface area like the steel plate did. So this version was harder to be activated by wind and was quieter and required a larger volume boost.









Prepared Aeolian Harp – Steel Plate

Sunday, August 31st, 2014



The Prepared Aeolian Harp is going to be a series of modifications – like the 3rd bridge post. This modification was inspired by the harp picking up a tornado warning siren by sympathetic vibration. The reasoning here is that the steel plate offers more surface area and would be a more sensitive detector. To some extent this is correct. The harp has become very sensitive to foot steps even in the back of my home. (Those are just “thuds” and more from the large mass of the plate vs the pickups I suppose) and I saw and just heard in one spectral view a car motor. Since this is new there needs to be some optimization. The current file displayed here is almost entirely due to wind – on a day with very light (<5 mph) breezes coming from over my home to the back of the harp - the worst possible angle. So I am looking forward to the experience of having a windy day and a more favorable wind direction. Even at these mediocre conditions the harp pickups can be easily overloaded and I am recording with compression on (applied after this recording) to prevent spikes. The plate is about 6" x 18" and 32nd" and is mounted by weaving the plate into the existing strings.

Church Bells in 17 edo

Thursday, February 13th, 2014


(it may take a little while for the audio to load)
Church Bells in 17 edo is a short study using the Church Bell setting in Pianoteq and my 17 edo keyboard.

Spring Reverberation Unit Played with eBow (video)

Friday, February 7th, 2014

Here is the inside of a vintage spring reverberation unit that I play with an eBow because I could…

Here is an excellent explanation on how an electromechanical spring reverberation tank works.

Below is a noise piece in stereo using two ebows and the above spring reberb unit – since the input is a simple coil I can use it as an output by boosting the signal a bit. Its the reverse of using a speaker as a microphone. Feel free to use the sound if you wish.

Walking the Tibetan Path

Friday, November 8th, 2013


Walking the Tibetan Path is a Sound-In inspired piece based on Christiane Offenbar’s vocal that uses long copper and aluminum tubes as trumpets and bells, a Tibetan singing bowl, various metallic objects as percussive and singing bowl actuated sound sources and 22″, 8″ , 3.6″ wuhan gongs.