Cut-ups was a word I used haphazardly; I was referring to a certain sound (I
forget which) that came in and out of the mix seemingly randomly.
Speaking of disorientation and tracks that make one ill, take a listen to
Orphx's first album on Malignant Records (Fragmentation) on headphones.
There's one track that starts with a hard rapid drumming, with each beat
panned hard to an alternating side (R,L,R,L, etc). When I first heard it I
had to pull off my headphones before I fell over.
I know of a couple other audio tricks that I've never tried. Firstly,
frequencies in the range of 40kHz can cause headaches... without the
recipient knowing why, because they can't audibly hear the tones. Secondly,
ultra-low frequencies (1-10Hz) are supposed to cause a variety of effects.
Unfortunately, its damn hard to get something in the audible range, so you
have to use beat-frequencies (play two tones whose differences are 1-10Hz).
At least one effect, as I understand, is to help sleep more soundly is
listened to as you're about to fall asleep.
Getting back to your track, I'm glad you decided to stick with the extreme
panning, I think it makes the track more interesting. Perhaps something you
can try if you want more irregularity is to modulate the LFO, perhaps with
itself through the upcoming VCLag (sine out to shape in?), or with another
LFO.
--PBr
> -----Original Message-----
> From:David Bivins [SMTP:dbivins@...]
> Sent:Friday, April 21, 2000 2:50 PM
> To:motm@egroups.com
> Subject:RE: [motm] more with less
>
> It does pan a bit wide. I had the left and right channels more toward
> center
> at first, but then, as I was venturing into unknown territory (for myself,
> that is), I decided to keep it extreme. I think it's interesting for the
> listener to realize at some point that the panning is frequency dependent.
> I
> think overall the track can be somewhat unsettling, especially with the
> clicky stuff that comes out of the 440.
>
> I had a long discussion with Kristen (my significant other) last night
> about
> this track. She thought that there was a regularity to it that she felt I
> could/perhaps should have broken free from. It was kind of disappointing
> because, though there is a specific regularity to the single note that the
> 303 plays each measure (which you only hear at certain points), the 320
> LFO
> and the 410 LFOs are moving at different rates, and I was actively
> changing
> the rates over the course of the track to counter their "natural"
> regularity. So based on her take on the track, I failed!
>
> I'll have to check out that Hazard track.
>
> Speaking of disorientation in music: Is anyone into The Anti-Group A.K.A.
> The Anti-Group Conspiracy (TAGC)? Brainchild of Adi Newton (Clock DVA). I
> brought home the Meontological Research CD (took years tracking a copy
> down)
> and I had to take it off because it was making Kristen feel physically
> ill.
> I don't know a lot about psychoacoustic stuff and physical effects of
> acoustic stuff (I've read a lot, but I'm not an expert by any stretch),
> but
> Newton is rather insane about it all and has written tons of pages
> regarding
> this kind of thing; also see Coil and William S. Burroughs in Daniel
> Odier's
> book "The Job: Interviews with WSB." Not as unsettling by far, the TAGC
> album "Digitaria" is beautiful.
>
> BTW--I'm not sure what you meant by cut-ups--there are no edits or
> overdubs
> in the track. It was recorded live. Perhaps you mean structurally--that I
> understand.
>
>