The reach playlist is up featuring sounds and music from around the world. Special thanks to all contributions, it sounds fantastic in there and the range of work is incredibly rich. Below is a listing of the main contributors with links to details of each submission:
Spanish online label Audiotalaia submitted an expansive collection of works released between 2009 and 2014, curated by Edu Comelles. Full details of the pieces submitted are here: digital.eca.ed.ac.uk/gap-in-air/2014/12/04/reach-playlist-audiotalaia/
Joseph Anderson, a specialist in ambisonic software development and composer based at DXARTS at the University of Washington sent in a vast list of old and new electroacoustic pieces in b-format. Full details of the pieces submitted are here: digital.eca.ed.ac.uk/gap-in-air/2014/12/04/reach-playlist-dxarts/- Composer and sonologist Paul Doornbusch sent in three tracks, two are soundscapes from the world heritage site in Hampi, India, the other is a composition called C1W. Full details of the pieces submitted are here: digital.eca.ed.ac.uk/gap-in-air/2014/12/04/reach-playlist-paul-doornbusch/
- Digital composer José Rafael Subía Valdez submitted two b-format electroacoustic pieces, Yunka and Quantum. Details of the pieces are here: digital.eca.ed.ac.uk/gap-in-air/2014/12/04/reach-playlist-jose-rafael-subia-valdez/
Composer Michael Brown from the University of Derby sent in three compositions inspired or derived from visual forms. You can read and see more on this page: digital.eca.ed.ac.uk/gap-in-air/2014/12/04/reach-playlist-michael-brown/- Kevin Hay is a Sound Designer, Recording Engineer & Musician originally from Edinburgh Scotland. Recently he has been slowly making the move from the studio to the great outdoors and the wonderful sonic happy accidents that you might be lucky enough to find out there. He submitted two binaural recordings made in The Gambia in December 2013. They are intended be be heard as a continual, ‘Sound Walk / Experience’ and should you have the time it is recommended that either one be listened to all the way through.
- American sound artist Angeline Girard sent us two radio interference tracks … “Part of a project investigating the signal-to-noise ratio in radio and users’ interactions with the medium, this ‘instrumental’ piece was made using close miking techniques to capture electromagnetic noise and emergent signals from a variety of radios and frequency bands. Very little processing was used in composition and mixing of the track, as it’s meant to expose a volatile ambience that’s inaudible without the radio interface, but ever-present.”
- Composer Michael Edwards sent in his powerful four-channel work anonymous obvious (aka several instrumental structures to annoy ludi) (2000), Michael said of piece “it was based around a prototype of an instrumental composition algorithm (called slippery chicken). Using instrumental samples, the algorithm generated short musical structures (and will generate longer ones); complete little pieces even, that are surprisingly convincing and somehow musically logical. They are, however, also rather anonymous, that is, to me they sound like a generic form of contemporary classical music that lack my own musical characteristics. Hence the “anonymous” part of the title. Hence the algorithm is still under development.” Further details are available here: www.sumtone.com/prog-note.php?workid=1.
- Michael also gave us access to John Chowning’s classic work of computer music Turenas (1972), a now legendary work of electronic composition, especially notable for its four-channel spatialisation techniques. You can read more about this piece in an interview between Chowning and Bijan Zelli given in 1998: cec.sonus.ca/econtact/12_2/ChowningJo_Zelli.html
- Composer and sound artist Owen Green sent us a b-format recording of his improvising piece Danger in the Air (2006). More details are here: digital.eca.ed.ac.uk/gap-in-air/2014/12/04/reach-playlist-owen-green/
- We’ve also included a couple of recordings from other parts of gap in the air. We’re most grateful to Edimpro and Michel Doneda for allowing us to take extracts from their performance at Talbot Rice on the 27th November 2014.
- Marcin Pietruszewski, who is giving a supercollider workshop on the 8th December 2014 gave us two tracks rendered from his own supercollider software.
- We have three pieces from Montreal-based composer and sound engineer Daryl Pierce.