there is no sound-in-itself. this is one of the primary lessons of musique concrete. Schaeffer, of course, was unable to comprehend this point; but we can, by exploring the field his work helps opens up with new tools and concepts, put his insights beyond his own limitations.
this is to be done both philosophically and methodologically.
philosophically, this is to be done by reading him through queer cyborg feminism and genderfuck Marxism.
methodologically, it involves experimenting with different movements and microphone positioning.
Cone Bass Distorted was created with the same cone, microphone and 'drum stick' that I made 'Cone Bass Clean' with. The cone was hit much harder and closer to its base; the microphone was stuffed farther up the cone's resonating chamber.
experiment with the material organization of an object's resonating chamber. think the microphone as creatively distorting.
one further note today: f@ck copyright. copyright is the juridical means of the musical commodity.
One sound taken from the 'Microblocks, vol.1' percussive found sound sample-pack. The sample-pack features 135 unique field recordings culled from the ordinary soundscapes of Santa Cruz, CA.
Find and download (for free) the rest of the sample pack here: https://fieldrecordingworkinggroup.bandcamp.com/releases
The sample pack comes with an accompanying essay describing the method, politics and historical context of the sample-pack.
Type
AIFF (.aiff)
Duration
0:01.486
File size
395.1 KB
Sample rate
44100.0 Hz
Bit depth
24 bit
Channels
Stereo
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