Here’s excerpts of some unique recordings I made with a pair of Aquarian hydrophones. I was walking along the Onkaparinga River close to a fence line boundary when I passed what sounded like a pure wave. I realised this was coming from a fence post resonating from the vibration of fixed wires. I pressed my ear to listen closer. It sounded amazing!
I didn’t have any clamps to fix contact mics to the wire, so I decided to bury a pair of hydrophones at the base of two fenceposts. I positioned them so that they were flush and lightly making contact with the base of the post. Both resonances had fundamental frequencies of approx. 360 Hz, with a partial occuring at approx. 420 Hz when the wind picked up and articulated the wires.
I then decided to explore this further by examining the surrounding fenceposts.
Excerpt 2 is one of the initial fenceposts with another fencepost that presented a more complex resonance (423 Hz, 637 Hz, 720 Hz).
Excerpt 3 is another set of fenceposts which were far more subtle in resonance, but prone to perculiar artefacts, which (at this stage) I’m attributing to the wind and movement of sand around the base of the posts.
Excerpt 4 was at a point where the posts produced very complex resonances, and it became apparent that these were not so immediate, but rather, derived from activity occuring 50-100 metres along the wires. (the soft tapping you can hear is raindrops hitting the post, wires and sand.)
Hello friends. As this strange year begins to wind down I wanted to post links to a couple of recently assembled editions which you can stream/download/purchase via Bandcamp and Soundcloud.
The first of these is entitled Distance Music and consists of three tracks which were recorded between February and April. The intersection of time and space and the localities of sound are themes which inform these works. The two main compositions, “Fleurieu Nodes” and “Overcast in Phuket” employ improvised performance and field recordings so as to evoke an impression of place. The other track, “Chang Song” is a shorter composition consisting of two beer bottle resonances (330 ml & 700 ml) superimposed against each other, which were recorded outside a villa on the island of Koh Lanta, Thailand.
The second of the editions, Awry is a suite of four compositions recorded last week in my studio. I had been on sick leave from work for this period and decided to use the spare time (when I felt fit enough) to continue to explore the improvised collage technique I had employed for the Distance Music material. Themes of personal reflection and lucid thought inform these tracks.
You can also listen to these tracks via Soundcloud:
Thanks for dropping by and I should have my (semi) traditional EOY/Xmas release prepared later in December.
A new little release. Two new pieces drawn from field recordings made in Thailand last year and studio improvisations.
This afternoon I visited the Unley Museum to record a selection on vintage bottle from their collection. I captured each of the bottles’ unique resonances using a recording technique I perfected in 2009 for my installation work, Infuser. The recordings will be used for a new installation entitled Five Voices to be featured in the exhibition, forWARDback as part of this year’s SALA Festival.
It’s ten years since I made my first sound installation work, Pink Twine. How the time goes!
To commemorate this, I’ve made the 2014 release of the Pink Twine audio a free download for the entirety of February. I’ve also written some new liner notes which include photos from the installation of the work.
Direct link: http://tristanlouthrobins.bandcamp.com/album/sound-installation-pink-twine-2005
A short recording made in my backyard late at night with a large cider bottle and a mono condenser mic. Plenty of sympathetic resonances from the distant sound of traffic.