The opening track is a new "I Am Sitting In A Room" recording. I did not use voice and tape to interpret Lucier's work. Instead, I chose paper and pencil. Using contact microphones placed on a sheet of paper, I recorded the vibrations produced by my hand and the pencil pressed against the paper. The condenser microphones positioned above the sheet registered the soft but firm sounds of the writing and the surroundings of the room where I was sitting.
In addition to the part inspired by Lucier's experiment, the song includes foghorn sounds and Morse code (another manifestation of the source text I Am Sitting In A Room). The foghorn introduces a precise rhythm. Morse code is a counterpoint to a foghorn's repetitive, constant sound motif.
For Turntable, Strings, Bees & Synth:
I wanted to check if I could get a sound similar to a string quartet using virtual orchestral instruments. For a point of reference, I chose Lucier's "Disappearances", performed by Quatuor Bozzini. Finally, after a series of tedious editing treatments in DAW, I found the virtual string quartet sound to be complete, and I can start reducing it. First, I removed the selected frequency ranges of the central part performed by a virtual string quartet and then placed the recordings on separate tracks. It gave the impression of the presence of harmonic tones. In addition to amplifying the sound at a frequency of about 250 Hz, I heard an imaginary buzzing sound, so I added a short field recording of the bees.
The crackle of the vinyl record initiates the track. The turntable's motor self-noise delivers a rhythm similar to a drum beat. I recorded the sounds using sensitive contact microphones, the same ones I used while recording the sounds of writing. In this part of the composition, I focused on the rhythm of the motor. In DAW, I changed the tempo of three tracks, creating an asynchronous beat.
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