officiated riot. - a field recording of my mind over the past few months. download mp3 album
There's a Riot Goin' On is the fifth studio album by American funk and psychedelic soul band Sly and the Family Stone. It was recorded from 1970 to 1971 at Record Plant Studios in Sausalito, California and released later that year on November 20 by Epic Records. The album's recording was dominated by band frontman Sly Stone during a period of drug use and intra-group tension
Over the past few articles we’ve looked at common field recording, mastering, and sound library curation mistakes. They’re all easy errors to make. They’re often overlooked. Just the same, it’s important to do whatever can be done to keep them to a minimum. Common Mistakes and How to Fix Them: Sound Library Curation Part 1. 2019/06/05 Filed Under: Curation. The last two posts explored overlooked field recording errors. The second dove into deeper detail with more specific recording mistakes and ways to fix them.
The history of field recording is central to the development of electronic music, with artists from Eno to Scanner to Burial drawing on its strategies to create distinctive soundworlds. Lawrence English – boss of the long-running Room40 imprint and the man behind this year’s exceptional Wilderness of Mirrors album – presents a beginner’s guide to the discipline, including a rundown of crucial recent releases. It’s these questions that have occupied my thinking a great deal over the past few years. This preoccupation has resonated through much of my work, specifically though my practice of field recording. More importantly, it has provided me with the opportunity to think critically about what it is that makes field recordings affecting, meaningful and ultimately creative.
Field recording is a formerly niche field that's been normalised by technology. Once a domain for ethnographers cataloguing non-Western cultures, it's now possible for anybody with a mobile phone. His forthcoming album on Subtext is full of crushingly sensitive sound design and further sets the New Zealander into his own inimitable world. While each has a distinct sound and different approaches, the crossover between them is telling: they all value the active relationship to their surroundings that field recording indoctrinates. I like the feeling of zooming into the microscopic level of sound. The amount of field recordings in each of my tracks varies a lot. If I made a rough guess it'd be about 40% field recordings, 40% sampling and 20% synthetic stuff. I feel like I get blocked when I'm using synths or something like Ableton because of the huge range of possibilities.
1 Although Mr. Zhu went back to China in late 2003, we have been in close personal contact over the years. Don't you think that it is more appropriate to say "over the past years" in this context?Because the years we have been through are pretty much clear,the years from 2003 to 20XX.
Here, we take a closer look at what they told us and (somewhat unscientifically) attempt to draw some conclusions about the factors that lift an everyday field recording up to the level of a sound you might remember forever. It’s also a companion piece to our feature from last year: The top 5 things you need to make a great field recording.
|1||the painful static that fills my mind when i think of her.||1:32|
|2||looking at pictures of her and crying would just make it worse so instead i made this.||4:39|
|5||anxiety, self-doubt, dread,||2:38|