DUAL SITE: Mixable Media, Other Resources for Soundtrack

Zip file: dual_site.zip (248 MB). Files in Apple Lossless Unprotected (.m4a) Format.

CONTENTS:

OriginalDraft+pieces: 11 clips (from 1:12 to 3:56), plus original unedited draft (20:35)

Mixable Media Collection from Dual Site (useable and mixable catalog of materials):

  • miscellaneous_ambient: 7 ambient clips (from 0:51 to 2:36)
  • mechanical_techno-electronic_hairpins: 12 clips plus unedited source clip (2:49)
  • interruptions_foreground_for_mixing: 12 clips plus unedited source clip (3:15)
  • ghosts_ of_dolls: 6 clips from original (0:10) to final transformation (2:45)

NOTES:

originalDraft+pieces

  • The original draft is sort of a classical statement – sonata form with contrapuntal elements first presented separately, and then together at the end. It will probably be more useful in its chopped up set of 11 clips, as interludes between the acts, although the longest ambient statement (number 10) could function as a background to the action.  (I just noticed that #10 has a lot of noise, for some reason- – I’ll fix that).
  • You can present the clips out of order, of course.
  • Source files for the rhythmic material, the Chorale, and the bass lines are in Garageband, using the World Music Jam Pack for the African, Asian, Middle-Eastern and Latin percussion parts. Here they are, along with MIDI files in Logic, plus an .m4a file of just the rhythmic material : dualSiteMIDI_GB.zip. Of purely academic interest is the number scheme I used to develop the rhythms and the pitches: hexOfTrichords.pdf .

miscellaneous_ambient 

  • These are 7 ambient tracks that should be able to work as background under speech. Most of them are stretched-out versions of other material from Dual Site, and they should mix well with anything.

mechanical_techno-electronic_hairpins

  • Mech_Tech_Hairpin_Complete.m4a is the unedited source clip for all the files in the folder, and it was created by loading a set of short files into Live, and varying the loop lengths in real time (I use a novation Nocturn with AutoMap to control Live).

interruptions_foreground_for_mixing

  • This collection of percussive events (and some vocal events) with cathedral-length reverb can work work to interrupt action or articulate sub-sections of the acts. They can also be loaded into Live or the mixing tool of choice as a denser, noisier collage (like the full version of the Hairpins, above). Because they’re fairly sparse, unpredictable, and attention-grabbing, they’re probably not going to work well as background to speech (unless the speech happens between the percussive events).
  • But, they should mix well with ambient tracks.

ghosts_ of_dolls

  • In every project there’s always an intrusion by some unexpected sonic object that can shake me up.
  • After reading the scene in the doll store, I remembered the ancient 10-second fragment that was recently uncovered and released as “The World’s Oldest Recording”. It’s from a phonoautograph made in 1860, of apparently a woman singing a few passages from “Claire de Lune” (the folk song, not the Debussy piece. Debussy wouldn’t even be born until a few years later). But, it’s really a man singing, with the tempo/pitch raised (the man was most likely Edoward-Leon Scott de Martinville, the inventor of the phonoautograph). This is the file ‘0-original_dry.m4a’; I added a little reverb to it, to give it just a bit more of a ‘halo’ in ‘0-original_wet.m4a’.
  • The next 4 files are further digital transformations of the piece, which may or may not work as background for one or more parts of the drama (they don’t necessarily need to be part of the doll shop scene). #1 is not too interesting, but in #2 I added a few pauses between the phrases, which opens it up more. Number 3 is the sound in its purest form (using the convolve filter, which is like melting grains of sound, that, like sand, become glass). Number 4 is a trio of these voices in canon (up and down a tenth from the original). So, these are the voices I found inside that piece of sound-history.

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