gloomuk-blog

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Today is the day

The album is now up and ready for purchase. You can stream and download the product through the link below. 

https://gloomuk.bandcamp.com/releases

A big thank you to Bristol Waste Company, Luke Mitman (Cyrah), Laurence Hoare (Obscure Form), Ricky Kowalski (Fukowskii), Caja Sandy and everyone else who had involvement with this project. 

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CD Sleeves

In order to maintain an ethical and environmentally friendly outcome, recycled and up-cycled materials were used to create the CD cover for this album. Using handmade paper from recycled paper-waste and a discarded plastic wallet, these cases were created using materials which would otherwise be thrown away. The reasons for doing the D-I-Y sleeves was to do special, very limited edition psychical copies of the product and do it in an environmental friendly fashion. It felt that the CD sleeves fitted in well with the album’s concept as something new and useful was created out of waste.

The CD sleeve was constructed by sewing pieces of handmade paper together, then inserting a slit to allow the fold to work, A stencil with a design from the album’s artwork was made and used as the front cover and CD print. This was done using a stray can.

None of this would have been possible if it was not for Caja Sandy. Caja Sandy is a crafts student in Hereford and we arranged to collaborate for this project and create an environmental friendly CD sleeve. With her skill-sets, the paper was easily made and sewn without an issue. Spray painting the design then followed. 

Collaborating on an activity like this has been interesting as it steps away from the standard collaboration which is related to the music aspects of this project. It was also interesting to add more ethical value to this project, doing so in a creative way. This is the last stage of the project and will be released through Bandcamp tonight. 

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Preview

A mini album mix has been uploaded to Soundcloud, showing snippets of each track. Can find it in the link below.

https://soundcloud.com/gloom-dnb/gloom-100-recycled-mini-mix

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Mastering

The project has entered its final stage of production, mastering. “Mastering, in particular, is a crucial gateway between production and consumption insofar as it consists if the final step of sound manipulation before a product is releases for sale” (Nardi, 2014). The mastering engineer uses their production and listening skills to terminate and treat errors, enhancing the audio to its greatest potential before being released.  

The original plan was to collaborate with Audio Animals as the mastering engineers yet this project;s finical status altered for the worse and their set price was not reachable. Research was done to find a cheaper alternative yet all possible collaborators were a similar price to Audio Animal’s. Luckily a friend said they were able to do it for a cheap price and he was chosen to be the project’s mastering engineer.  

Laurence Hoare, who also goes by Obscure Form, has previously mastered Puritan Sounds’ various artists EP, ‘Resurgence’ (2016), Oni.’s ‘Faltered’ (2016), to name a few. His knowledge of mastering diverse styles will favour this project, as it is not just one genre/style. With a previous built relationship, there is already a respected connection and both can be more opened about directions for the product. This is similar to what once spoken of mastering engineers and clients, “It is the importance placed on these relationships that allows them, myself included, to work closely with clients in order to understand their work” (Audio Undone, 2010). Alternatively, the composer could have mastered the album and no mastering engineer was needed; yet there was a lack of knowledge and skills within this area of production. Though the fundamentals are known of, to help produce the best results for this album, a collaborator was needed. Choosing Laurence was very beneficial due to the set price as well as his knowledge. The results are pleasant as he had enhanced and treated the tracks as best as he could, giving a well balanced outcome throughout the project. 

Reference List Audio Undone (2010) The Importance of Mastering Relationships [Online]. Available at http://audioundone.com/the-importance-of-mastering-relationships (Accessed 28 April 2017).

Nardi, C. (2014) ‘Gateway Of Sound: Reassessing the Role of Audio Mastering in the Art of Record Production’, Dancecult: Journal of Electronic Dance Music Culture, vol. 6, no. 1, pp. 8-5 [Online]. Available at https://dj.dancecult.net/index.php/dancecult/article/view/456/454 (Accessed 28 April 2017).   

Oni. (2016) Faltered [CD]. Bristol, Gassed.  

Various Artists (2016) Resurgence [CD]. Cornwall, Puritan Sounds.

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Mixdown Time

After receiving and applying feedback to the project, it was in its final stages. To portray balanced, clear mixdowns throughout the project, the tracks were listened through various sources. This was done to capture a balanced sound by altering the mix so the tracks sound the same through different sources. Such sources were used; Yamaha S5, Yamaha S8, KRK Rokit 6 G3, Ipod headphones, Macbook pro built-in speakers and Sennheiser HD 280 Pro. Such an exercise has been defined as translation, “Translation is where the mix is clearly balanced and organised so that it sounds great and understand on any speaker system” (Dollin, 2010). By analysing the mixdowns of each track through different speaker systems, a strong, balanced outcome can be captured throughout the project and help give the product a professional sound.

Recent technology also allows this exercise to be practiced without having to swap speaker systems, such as ‘MixChecker’ by Audified. MixChecker is a VST/AU/AXX plug-in that uses acoustic simulations to replicate sound sources such as car stereos, monitors and smartphones, allowing the user to alter the mix to hold balance in the track through different sources (Ridden, 2016). MixChecker could have been utilised in this project rather than using various speaker systems but the decision to do this manually was preferential in order to obtain a genuine human response, rather than an automated one.

Acknowledging and utilising the method of translation in the project has been very beneficial as it has shown the importance of using various speaker systems to give the product a balanced, professional sound and outcome.

Reference List

Dollin, M. (2010) Monitoring For Gold: Triangulation For Final Mix [Online]. Available at https://www.renoise.com/blog/monitoring-for-gold-triangulation-for-final-mix-translation (Accessed 19 April 2017).

Riddin, P. (2016) Plug-in lets you hear what your mix sounds like on different listening devices [Online]. Available at http://newatlas.com/mixchecker-plugin-audified/43338/ (Accessed 3 March 2017).  

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Feedback

To add improvement to the product, a handful of friends were sent the album and were asked to apply constructive criticism. This action was inspired by what was once spoken of constructive criticism, “Constructive criticism is judgement given for the purposes of (a) offering receivers external views of their performance to compare with self oriented views of their work; (b) helping the receiver recognize or interpret ways to improve past performances and/or ways to improve on future attempts” (Petress, 2000). By asking for people’s opinions on the product, errors will be highlighted which were not noticed beforehand. With acknowledging the errors through a person’s feedback these faults can be controlled and dealt with. This will also give a broader opinion on the tracks, instead of one person’s judgement. 

Such feedback was presented then applied to the project: 

. “Track 4: Kick could do with more body maybe? (200Hz & 2000Hz). Percs could be louder/more saturated” (Friend 1)

. “Add more natural raw recordings of litter to make the album’s concept more noticeable” (Friend 2)

. “Track 8: Main sound could be more prominent (1 to 4kHz boost) and have some more reverb” (Friend 1)

. “Add a distortion send to track 4” (Friend 3)

By asking and receiving feedback, progress can take place within the project. The product lacked creativity and drive but since receiving this criticism, development began and the album was getting closer to the end. The way feedback as used is well explained by John Hattie and Helen Timperley (2007) in their article which analyses the meaning of feedback and how it aids learning and teaching. “It occurs typically after instruction that seeks to provide knowledge and skills or to develop particular attitudes” (Hattie and Timperley, 2007).

Constructive criticism and feedback helped this project out of a creative block. Applied criticism aided in highlighting errors and suggested ways how this product could be improved. This exercise has helped acknowledge how useful feedback and criticism can be, aiding in improvement to a project. 

Reference List 

Hattie, J., Timperley, H. (2007) ‘The Power of Feedback’, Review of Educational Research, vol. 77, no. 1, pp. 81-112.  

Petress, K. (2000) ‘Constructive Criticism: A Tool for Improvement’, College Student Journal, vol. 34, no. 3, p 475. 

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Cyrah Collaboration

One of the tracks from this project will feature Bristol based music producer, Cyrah aka Luke Mitman. He specialises in various Drum ‘n’ Bass style with releases on multiple labels. Even with only a few releases under his name, an original sound is already being crafted, which can aid one of the project’s tracks. 

A breakbeat-based track was in created, indulging in heavy atmospheres and quirky drums. With his knowledge of Ableton and audio manipulation skills, various styles of basses were created from a singular source, all including their own sonic characteristics to the overall mix. 

With his understanding of the genre and referencing various tracks to monitor their spectrum range, the track was remixed. This helped achieve making all sounds balanced and settled nicely with other surrounding elements, giving the overall sound a solid structure.

Cyrah frequently used FabFilter’s Saturn, a distortion and saturation unit. Saturn consists of a multiband feature, similar to Izotope’s Trash 2. “6 possible saturation bands are totally independent, so each can have a different type of distortion setting active. A practical example: you could add some tape warmth to the bottom of a drum track, while apply tube sheen to the high” (Kärkkäinen, 2013). The example Kärkkäinen (2013) talks of is similar to how Saturn was used on various sounds and groups, especially the drums’ group. By applying SAturan and using the multiple saturation bands, brightness and clarity was added to to the high frequencies and sections of the mid range while crunch and weightiness was applied to the lower frequencies. This tool had become very useful for this track as it helped add warmth and detail to sounds from one third party pug-in. It is believed if various stauration units and filter bands were used instead, frequencies may have clashed and muddiness would appear in the mix, whereas due to the nature of Saturn, this fault will be less likely. 

This collaboration has been very beneficial for the project. Collaborating with Cyrah has helped acknowledge new techniques and equipment, such as; audio manipulation, mix-downs and tools like Saturn. It was a relief to work with someone else on the production of this album. It allowed being able to bounce ideas and techniques back-and-forth, thinking new different ways and learning new skills. 

Reference List

Kärkkäinen, I. (2013) FABFILTER SATURN - THE SATURATION WORKHORSE [Online]. Available at http://www.resoundsound.com/fabfilter-saturn/ (Accessed 7 April 2017).

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Album Artwork

What is an album without artwork? A lot of iconic releases, present and past, all consumed an iconic design. Inspiration for the basis of an album artwork came from The Beatle’s (1967) album, Sgt. Pepper’s Lonely Hearts Club Band and what was once spoken about it. In an article, it was highlighted all people surrounding The Beatles have been influential figures to them (Thill, 2010). Inspiration also came from the concept of expressing a thousand words through one image, spoken by Arthur Brisbane (1911) cited by Chris Bailey and Hazel Gardiner (2010). Taking influences from how The Beatles engraved the influences for the album into their artwork alongside the well-known phrase of telling a story through one image helped create a basis for this project’s artwork. As this project is using solely recordings of litter, the artwork will feature images and objects surrounding the album’s choice of sounds. Following in this direction, a basic design was decided.

 The artwork would showcase a mountain-like pile of rubbish and waste, with a new-born alien-like creature on the top. This resembles the music as something new is created from the mountain-like waste (the recordings used throughout the album). In a way, the illustrations’ design shows resemblances to what was indicated about album artwork, “prominent parts of the album cover illustrate not just the lyrics but also the back-stories inspiring the songs” (Belton, 2015). Designing an illustration in this approach has helped express the concept of the album, telling the story with one image.

Fukowskii’s (2017) Ghost-like Creature  

The person to design this artwork will be Bristol based graphic design and illustrator Fukowskii. His designs have a stripped back, simple yet eye-catching effect to them, which grabbed this project’s attention. Being intrigued with the minimal style of his work along with already built relationship, Fukowskii was chosen to be the album’s designer/illustrator. Fukowskii’s style will help portray what was originally intended but in a conspicuous fashion, allowing elements to be showcased without looking too cluttered.

Fukowskii’s (2017) Yellow Castle

This link will direct you to his Instagram account, where some of his work is displayed - https://www.instagram.com/fukowskii/

 Here is an extract of Fukowskii’s process on the album’s artwork.

Reference List

 Bailey, C. and Gardiner, H. (2010) Revisualizing Visual Culture [ebook reader], Abingdon, Routledge. 

Belton, R. (2015) ‘The Narrative Potential of Album Covers’, Studies in Visual Arts and Communication, vol. 2, no. 2 [Online]. Available at http://journalonarts.org/wp-content/uploads/2016/01/SVACij_Vol2_No2-2015-Belton-The-narrative-potential_CS02.pdf (Accessed 28 March 2017).

Fukowskii. (2017) Ghost-like Creature [Online]. Available at http://imgur.com/a/Vet7w (Accessed 6 April 2017).

Fukowskii. (2017) Yellow Castle [Online]. Available at http://imgur.com/a/KNzxA (Accessed 6 April 2017).

The Beatles (1967) Sgt. Pepper’ Lonely Hearts Club Band [CD]. United Kingdom, Parlophone.

Thill, S. (2010) BEST ALBUM ART OF ALL TIME [Online]. Available at https://www.wired.com/2010/06/gallery-album-covers/ (Accessed 27 March 2017).

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Sound Design Part 2 – Izotope’s Trash 2

As previously mentioned in the former entry, this will be focusing on Izotope’s Trash 2 and how it aided in the sound design process of the project. Trash 2 is a VST distortion unit with additional effects, such as filters and delay. Izotope’s software has the ability to multiband distortion, meaning various distortions such as drive and fuzz can be applied to different frequency ranges. Such a technique can result in complex sounds with warm crunchy midrange, to pumping thick low end (Sound on Sound, 2015). Audio manipulation can be pushed to its limits with this VST, “with a long list of signal processing modules and over 20 different filters with envelope modulation” (Rudolph, 2013). These components aid in creating warmth and grittiness to selected sounds throughout the project, mainly in bass resembling sounds but have also been used to create gloomy, dark layers within atmospheres. Trash 2 has become a frequently used tool for the album compared to other distortions because of the complexity and detail it can produce. When compared to Ableton’s ‘Amp’ or ‘Overdrive’, neither can produce multiband distortion without getting too complex with frequency splitting and grouping. Even when this is preceded, the outcome is nowhere near as clear and detailed as a Trash 2 version.   

Trash 2 was also used to test a theory of psychoacoustics, which is the Fletcher-Munson curve. This theory is said-to-be based on the human hearing perception, as we tend to hear mid-range frequencies clearer and easier compared to high and low frequencies at lower volumes (Seyferth, 2015). Using this knowledge, of the human perception of sounds, loudness and fullness can be prominent in sounds without altering the volume. To give a sub more presence in the mix without altering the level, the Fletcher-Munson curve theory was applied alongside Trash 2. Izotope’s distortion unit was placed on a sub channel within a track. Then to add richness and fullness, two types of distortion were added: Garage (found within Fuzz) and Bit Wrench (found in Retro). Though added harmonics and grittiness aided in fullness of the sub’s sound, the purity of the low end was cluttered, resulting in a sound that didn’t have resemblances of a sub. To reinstate the purity of the low end and not lose the added harmonics Trash provided, the filter unit was applied. By filtering out low and some mid range frequencies, the sound was revived with the addition of richness in higher frequencies.

The video at the top of this post demonstrates the theory previously discussed, which was used within the track’s sub, with a few added processes to tighten the sound. As can be seen within the waveform, there is no change of amplitude, yet a highly noticeable change within fullness and loudness when the distortion is activated.   

Reference List

Rudolph, B. (2013) Izotope Trash 2 Review [Online]. Available at http://www.musicconnection.com/izotope-trash-2-review/ (Accessed 10 March 2017).

Seyferth, B. (2015) PsychoAcoustics: A Practical Guide to How Our Minds Distort Sound [Online]. Available at https://reverb.com/uk/news/psychoacoustics-a-practical-guide-to-how-our-mind-distorts-sound (Accessed 23 February 2017).

Sound on Sound. (2015) iZotope Trash 2 now only $99/£66.95 [Online]. Available at http://www.soundonsound.com/news/izotope-trash-2-now-only-99ps6695 (Accessed 4 March 2017).

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Sound Design Part 1 - Paulstretch

Sound design is the process of recording sounds that are then manipulated and edited for specific reasons (Marten, 2013). The skill and notion of sound design has major involvement in this project, using provided tools and equipment to craft new sonic appearances through manipulation of audio. As to what can be told through previous posts, this album is created from  solely recordings of litter and designing new soundscapes through process and manipulation has had a massive role within this project. Various tools and equipment have been used but this entry will focus on Paulstretch and Izotope’s Trash 2.

Created in 2010, Paulstretch is a standalone free programme developed by Paul Nasca, which has the competence to stretch audio by several times its length without altering the original pitch (Papenburg, Schulze, 2016, pp. 228-229). Paulstretch’s method of stretching audio is unique compared to fellow audio stretching applications. Instead of the traditional process such as stretching the entire track, “the stretches occur in tiny increments. When they overlap, they create a cohesive body of sound” (Yenigun, 2010). By smearing sections of audio then proceeding in combining and overlapping one another, a track is constructed containing the audios’ original pitch.

To add further audio process and manipulation, the process tab was expended. Alongside other effects that alter harmonics and frequencies, Paulstretch’s process tab contained the ‘Octave Mixer’ addition. The effect is used to produce divergent octaves of the original recording, which can be added to the original signal by altering the individual sliders (Rajan, 2014). Results can conclude in a more detailed, richer sound due to the fellow addition of new octaves. Such a technique was used various times when stretching audio within Paulstretch. This aided in creating in-depth eerie soundscapes and produced sonic characteristics, sharing resemblances to the elements of a lead sound.   

By utilizing Paulstretch within the project aided in creating soundscapes and designed sounds into something which resemembles a lead key. This provided compositions with higher detailed sounds which fellow audio stretching softwares are unable to produce. At the top of this post is a video showcasing two raw recordings of a glass bottle and a rubbish bag. The individual recordings are then followed by the stretched version.

Reference list

Marten, S. (2013) Sound Designer [Online]. Available at https://ccskills.org.uk/careers/advice/article/sound-designer (Accessed 15 March 2017).

Papenburg J. G and Schulze H. (2016) Sound as Popular Culture: A Research Companion, Cambridge, MIT Press.

Rajan, R. (2014) Music Production Tips: Create Unique Sounds Using the Free Paulstretch Plug-In in Indie Electro-Pop [Online]. Available at https://ask.audio/articles/music-production-tips-create-unique-sounds-using-the-free-paulstretch-plug-in-in-indie-electro-pop (Accessed at 14 March 2017).

Yenigun, S. (2010) How It Works: The Art Of Time-Stretching Bieber [Online]. Available at http://www.npr.org/sections/therecord/2010/08/18/129283985/the-art-of-a-time-stretch (Accessed 15 March 2017).

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Bricolage - Rubbish Instrument

The journal article by R.M. Schafer, ‘There’s a Twang in Your Trash’ was discovered when researching Bricolage for this project. Schafer (1980) discussed of the concept of Bricolage and used the theory in a creative way, creating an instrument from old objects. His intension was to provide the forgotten tools with new purposes. The idea Schafer portrayed in his junk sound sculpture (Schafer, 1980) inspired how the pieces of litter could be used in creating a sound for the album.

By using various objects of waste along with tape and a desk, an instrument was born. Electrical tape was attached to each object (a glass bottle, plastic bottle, copper pipe, drinks can and deodorant can) and to the desk, forming a slight resemblance to wind chimes. The objects were chosen due to the sonic characteristics they created when hit in contact with others, composing rich harmonics and bright tones. Several rearrangements took place to find the best relationships between the pieces of litter, focusing on the tones and duration.

As can been seen in the video above the instrument has comparable sonic similarities to a wind chime, despite the not so appealing appearance. With inspiration by the works of R.M. Schafer, an untouched way on how to use these objects to create sound was discovered. This helped to see the rubbish in a more creative way than before, finding a more in-depth purpose on how to portray these sounds in the project. This may help to spread more attention to the environmental problem that this project is based on, allowing these objects to be seen in a new light.  

Reference List

Schafer, R. M. (1980) ‘There’s a Twang in Your Trash’, Music Educators Journal, vol. 66, no. 7, pp. 32-37.

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Granular Synthesis - Part 2

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Granular Synthesis - Part 1

The technique granular synthesis is unique in it’s way as it uses an algorithm that alters the speed, pitch and formants elements of the recording (Price, 2005). Rearranging splices of sound (grains) equal with speed altering can be used to create complex soundscapes within compositions (Roads, 1988). Throughout the album, granular synthesis has been used to create complex, surreal sounds that aid as atmospheres and background noise, adding depth alongside detail to compositions. Similar outcomes could be constructed by editing pieces of audio manually yet the complexity and detail won’t be equivalent to what is captured within granular synthesis.

A style of granular synthesis that assisted the album is cloud synthesis. In his book, Designing Sound, Andy Farnell (2010, p. 309) speaks of cloud synthesis, indicating that the style of granular synthesis is a fusion of multiple parts of different streams, which are then combined with divergent grain density, duration or overlap. The concept of cloud synthesis is essentially the combinations of multiple granulated elements and sounds. By using the style of granular synthesis and following its concept has helped create highly complex soundscapes, adding depth and detail to the mix.  (Such sounds can be heard in ‘Granular Synthesis – Part 2’).

Granular synthesis has aided in producing a soundbank of surreal atmospheric sounds, thus assisting in achieving project goals such as Bricolage and Musique Concrète. By Manipulating audio in such a way has also helped achieve a personal goal within the project, creative restraint. It has changed the way tools and sounds are looked at, being more creative with the equipment used and choices being made.

Reference List

 Farnell, A. (2010) Designing Sound, Cambridge, MIT Press.

Price, S. (2005) ‘Granular Synthesis’, Sound on Sound, December [Online]. Available at http://www.soundonsound.com/techniques/granular-synthesis (Accessed 23 February 2017).

Roads, C. (1988) ‘Introduction to Granular Synthesis’, Computer Music Journal, vol. 12, no. 2, pp. 11-13.

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Inspirations - Part 2

Broken beat rhythmic pattern used in one of the album’s compositions

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Inspirations - Part 1

As mentioned in previous entries, Pierre Schaeffer with his Musique Concrète concept alongside Bricolage have had a major influence for this project. The following post will be discussing other influences gathered from a vast range of artists and concepts.

Artists Noisia and Annix inspired the album’s introduction composition. Within their albums, ‘Outer Edges’ (2016) and ‘Forever’ (2016) both use an abstract, futuristic soundscape as the album’s intro that are far divergent to the other compositions within the albums. The idea of a soundscape inspired introduction was constructed into this project, allowing sound design techniques and musicality used in a different sense.

Outer Edges introduction track - The Approach 

Outer Edges (2016) also inspired the project with what Noisia once stated about the album, ‘There are no real concessions – wed haven’t been super DJ-friendly or radio-friendly at all’ (Noisia, 2016). This quote influenced the music to be constructed in an naturalistic style, not altering the rhythm or rearranging sounds to make it DJ and radio friendly. This allowed the compositions to be home for more creativity with the sounds and techniques used.

 The rhythmic patterns and drum arrangement has been heavily influenced by the vast genres related to Drum n Bass, such as Jungle. Much Jungle uses the broken beat (this style of beat can be heard in Inspirations - Part 2). Broken beat can be defined as an fusion of regular and irregular beats, creating a more broken groove compared to an steady beat (Roads, 2015). The broken beat has been used in a range of compositions within the project, providing complex rhythmic grooves that resemble elements of Drum n Bass.

 Amon Tobin’s Foley Room (2007) and his usage of found sound has enthused how recordings can be used. Throughout his album, he uses a combination of raw recordings mixed with manipulated found sound, creating part realistic, part surreal compositions. This technique can be heard in tracks such as Kitchen Sink (2007) and Big Furry Head (2007). Being inspired by his album and the way audio is used has helped look at recordings in a more creative yet minimalistic way, using one recording in divergent ways.

 Multiple of compositions have been influenced by the new sub-genre, Future Beats. Future Beats follows elements of Drum N Bass as well as Hip-hop with elements such as halftime, loose beats layered with vast array of sounds (gritty - melodic). The artists who work in this field that mainly have inspired this project are Ivy Lab and Alix Perez. Ivy Lab and Alix Perez’s creative usage of distortion and wonky-like rhythmic pattern can be heard in tracks such as Planebeats (2015), Tell Dem (2016) as well as Hack & Slash (2016). These techniques have been mimicked within certain compositions within the project, being motivated by their multi layers of distortion and Hip-hop loosen styled drums.

Alix Perez & Ivy Lab collaboration - Tell Dem

By studying artists and their work, the production techniques they use were incorporated in this project, resulting in similar outcomes from what inspired this project. By researching and analysing the techniques and concepts within their production, it has helped provide more elements of Drum n Bass as well as shaping this project into an working album.  

 Reference List

 Alix Perez (2016) Hack & Slash [CD]. London, 1985.

Alix Perez and Ivy Lab (2016) Tell Dem [CD]. London, Critical.

Amon Tobin (2007) Foley Room [CD]. London, Ninja Tune.

Amon Tobin (2007) Kitchen Sink [CD]. London, Ninja Tune.

Amon Tobin (2007) Big Furry Head [CD]. London, Ninja Tune.

Annix (2016) Forever [CD]. London, Playaz Recordings.

Ivy Lab (2015) Planebeats [CD]. London, Critical.

Noisia. (2016) ‘IN THE STUDIO WITH: Noisia’, Future Music, 30 June, p. 44.

Noisia (2016) Outer Edges [CD]. Groningen, Vision Recordings.

Roads, C. (2015). Composing Electronic Music: A New Aesthetic, New York, Oxford University Press.

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Musique Concrète - Part 2

Clip above demonstrates the aforementioned rhythmic pattern that was composed from a singular recording

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Musique Concrète - Part 2

Clip above demonstrates a recording’s pitch being altered at three different speeds, showcasing the change in sonic characteristics and length.