Re: questions on processing in soundscapes


Subject: Re: questions on processing in soundscapes
From: Kevin Austin (kevin.austin@videotron.ca)
Date: Tue Nov 15 2005 - 11:00:22 EST


Sounds like 'electroacoustics' to me. Can anyone confirm that Glenn
Gould was the first 'classical' performer to integrate microphone
distance / placement into his recordings? (Sibelius, Grieg, Bizet)

... the Sibelius. Here, Glenn Gould experimented with splicing and
microphone placement to capture the best effects at each possible
place in the score. You will probably envision Northern landscapes
while listening to this -- yet I've never found this music cold.

My only regret is that Glenn Gould didn't get a chance to record more
Sibelius pieces. And that he never got another chance to experiment
with microphone placement and splicing to this extent.

Fans who don't mind experimentation should consider ordering Glenn
Gould's "The Solitude Trilogy" -- where human voices become the
instrument of his "composition." Now that's an experimental work...

Best

Kevin

At 7:51 AM -0800 11/15/05, Andrew Czink wrote:
> Although not directly relevant to soundscape work, pianist Marilyn
>Lerner's CD Luminance (Ambiances Magnetiques) overtly explores the
>creative 'signal processing' function of the microphone. The music
>on the CD is her signature style solo piano work, but the recordings
>were made with a large variety of microphones and using both
>'standard' placements and very unusual ones. Your ears are drawn to
>what the space and the transduction process is doing; something that
>is normally made deliberately transparent. It's very interesting
>listening.
>
> Andrew
>



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