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I'm new to reddit and very fortunately stumbled across this subreddit, I'm sure it will lead me to endless advice regarding theory, composition and a general musical approach!
I'd appreciate it if you would take a spare 5 minutes to have a listen and potentially provide feedback for my electroacoustic composition that I composed using Adobe Audition 3.0 Software in my second semester of my first year of a BA Music programme at The University of Leeds in England.
This piece was not intended to have any extreme musical or aesthetic value, it was largely just to demonstrate to my tutors that I can use the required techniques
I've attached a link along with a commentary of the piece.
In this piece, which I have entitled Simplicité Spatial, I wanted to emulate the styles from both the “musique concrète” and the “acoustic melodrama”. For acoustic melodrama I took influence from techniques used mainly by Francis Dhomont in his album Sous le regard d’un soleil noir, by using a French voice counting the numbers one to ten. For the music concrète I drew influence from Trevor Wishart’s piece Imago, by using sounds obtained from one source. The majority of sounds in the composition were sound samples retrieved from a Fender American Vintage ’62 Reissue Stratocaster plugged into a Marshall MG250DFX on a clean setting. The other sounds are the voice and one other sound of a cymbal crash. For the first audible sound I recorded a single D5 guitar note which makes up the majority of this composition. I pitch shifted this note up an octave and added a large time stretch to it, followed by a multitap delay to slowly build a feedback. After this I normalised the note to avoid any peaking and distortion. I used the same note again on another stereo track with an echo effect to create a continuous loop in the left channel followed by a full reverb. I edited the coloration in the full reverb to allow the sound to quietly wallow. The guitar note is reverted to its initial length and panned to create a sense of spatial awareness. These sounds are then faded out and this is followed by the introduction of the French voice counting the numbers one to ten. I placed the same sound file in individual tracks and panned them heavily to the left and right. I slightly sped one of them up after a few counts, this was to emulate an effect I heard at the beginning Francis Dhomont’s piece Pareil a un voyager perdu where the voice is slowly phased out of sync between the left and right channel which creates an slow increase in spatial awareness, I then added a delay to the left channel voice. I placed the same recording of the French numbers in another track and added another full reverb to slowly create a feedback. These combined effects slowly cause the listener to lose track of a seemingly simple sequence of numbers and causes disorientation in spatial awareness due to panning and delays. I added a dynamic delay at the end of the numbers. The sound that creeps in at 0:52 is strumming muted guitar strings which I reversed, heavily time stretched and added a full reverb. This creates a sound that is seemingly distant due to the amount of reverb but the heavily edited and frequent alterations in panning causes the sound appear close and encapsulating. I then took the French numbers with the already added delay and reversed it with slightly more reverb and another delay to make the voice seem like it is moving further away, and it is panned to the left to heighten this effect. The sound used earlier of the strumming muted guitar strings then returns with another guitar harmonic to which I added a heavy phaser with a fade in/fade out effect with a shift in panning from left to right. This causes the distant sound of the muted guitar strings seem more encapsulating as the voice moves further away. The first guitar note is also used again but with more reverb to make it appear distant, this is only slightly audible underneath the voice, which also creates spatial awareness as sounds move further away. To bring this first section to a close I used the initial sound of the D5 guitar note, panned it to the right and removed all upper frequencies. This is followed by a cymbal crash which I time stretched and added a full reverb. Again, I edited the coloration to create a reverberating tone that slowly builds feedback, and then used a dynamic delay and a phaser. I removed the very lowest frequencies so it does not impact too much on the listener’s ears and added a heavy phaser. I removed the lowest frequencies so it does not detract from the focal point the French numbers again, in its initial mode but with more reverb. For the next section I wanted to emulate techniques I had heard in both Trevor Wishart’s Imago and Francis Dhomont’s Implosion. At approximately 1 minute and 45 seconds into Implosion there seems to be the effect of a variety of sounds and frequencies that fade in and out as well as being continuously panned from left to right. I wanted to emulate this technique but took influence from Wishart, by using only one sound source, similar to the likes in his composition Imago. This entire section is made up from the sound of the guitar tone from the beginning. I spliced this sound up and copied and pasted it onto a blank sound file and selected randomly and added effects such as reverse, phasers, time stretchers, speed up and as well as reverb and delays. I went through this process twice to create two individual tracks of equal length, using one sound source and panned them heavily left and right to emulate the effect used by Dhomont. At the return of the French voice, I removed all frequencies below 300Hz and above 3KHz and used a flanger to create a robotic effect, I then used this same sound source and pitch shifted it up an octave and placed them in sync with each other. At the end of the voice I generated a tone using the Adobe Audition software and removed all but the very lowest frequencies to reduce the volume, as well as creating a drone effect. I added a phaser to this and a Doppler shifter effect to make this drone more spatial. For the reprise I used the very first sound from the start but changed used the same technique I had done with the French voice at the start aligned the tracks up slightly out of sync. Again, this is similar to the techniques used in Francis Dhomont’s Pareil a un voyager perdu. However, this time I used the technique with a sound that had already been heard and also wasn’t a voice. This creates the effect of a sound that was previously centre panned seem more surrounding. When the French voice returns for the penultimate time I reversed it and added a slight delay afterwards so the voice fades in and out. I then added lots of reverb to this. At the end of it I added a multitap delay to slowly build feedback as I had at the start but this time I did not normalise or remove any frequencies so the feedback effect is very central. Underneath this I placed the previous episode of the contrapuntal left/right panned sounds underneath the feedback, as it creates the effect of a sound that was previously the focal point seem more insignificant. The French voice is centre once again, this time with no added effects. This brings all the modified sounds from the start back to the focal point in their original form with no effects. Whilst underneath this the contrapuntal left/right panned guitar sound is still in continuous motion, but is not a huge focal point. Just before the word ‘dix’, I faded out the feedback and added a delay and used the same panning technique from Pareil a un voyager perdu by Dhomont followed by a fade out, whilst the counterpoint left/right panned sounds continue for a slight amount of time. This style of ending represents how I wanted to emphasise the potential spatial awareness of stereo sound deriving from sound sources that seem fairly simple; a French woman speaking; one guitar tone and a cymbal crash.