E̶7̵b9͜_̶A͟m9͞.aif

Mark Thursby (Composer)

Research output: Non-textual form typesCompositionResearch

Abstract

Ibanez G200ECE classical guitar was recorded with a pair of AKGC414s, using a mid/side configuration. The Guitar strings were mistreated - scraped, thumped and otherwise struck in unconventional ways - and the Guitar was also played traditionally, fingerpicking around E7b9 and Amin(Add9).A single 12 minute take and the resulting indeterminacy was captured. The resulting M/S matrix (3 tracks; 2 panned L&R, polarity inverted on R) was bounced twice, flipping the panning for the second bounce.The resulting two stereo tracks - one leaning fairly left and number two leaning fairly right - sum to mono when played together, but allow for creative exploration of the stereo image when played independently.The chance elements of the aleatoric mistreatment determined the BPM and time signature for this piece (100 & swung 4/4). The audio was next edited using ɘƨɿɘvɘɿ, time stretch, pitch bend and pitch shift. Plugins used: ValhallaDSP Room, iZotope Trash 2, Waves Doppler, Glitchmachines Fracture, Voxengo Stereo Touch, FabFilter Pro-Q 2. The final results were mastered via iZotope Ozone 7, TLAudio Fat Track and TLAudio 5021 compressor.The genre is somewhere between blues (I - IV swung), classical (Guitar finger style), electronica and g̛l̕i̧tch̴̷͘.
Original languageEnglish
Place of PublicationNorthampton
PublisherConscious_Program
Media of outputOnline
Size52MB
Publication statusPublished - 10 Nov 2017

Fingerprint

Guitar
Time Signature
Fat
Blues
Waves
Polarity
Mistreatment
Strings
Indeterminacy

Cite this

Thursby, M. (Composer). (2017). E̶7̵b9͜_̶A͟m9͞.aif. Composition, Northampton: Conscious_Program.
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title = "E̶7̵b9͜_̶A͟m9͞.aif",
abstract = "Ibanez G200ECE classical guitar was recorded with a pair of AKGC414s, using a mid/side configuration. The Guitar strings were mistreated - scraped, thumped and otherwise struck in unconventional ways - and the Guitar was also played traditionally, fingerpicking around E7b9 and Amin(Add9).A single 12 minute take and the resulting indeterminacy was captured. The resulting M/S matrix (3 tracks; 2 panned L&R, polarity inverted on R) was bounced twice, flipping the panning for the second bounce.The resulting two stereo tracks - one leaning fairly left and number two leaning fairly right - sum to mono when played together, but allow for creative exploration of the stereo image when played independently.The chance elements of the aleatoric mistreatment determined the BPM and time signature for this piece (100 & swung 4/4). The audio was next edited using ɘƨɿɘvɘɿ, time stretch, pitch bend and pitch shift. Plugins used: ValhallaDSP Room, iZotope Trash 2, Waves Doppler, Glitchmachines Fracture, Voxengo Stereo Touch, FabFilter Pro-Q 2. The final results were mastered via iZotope Ozone 7, TLAudio Fat Track and TLAudio 5021 compressor.The genre is somewhere between blues (I - IV swung), classical (Guitar finger style), electronica and g̛l̕i̧tch̴̷͘.",
author = "Mark Thursby",
year = "2017",
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Thursby, M, E̶7̵b9͜_̶A͟m9͞.aif, 2017, Composition, Conscious_Program, Northampton.
E̶7̵b9͜_̶A͟m9͞.aif. Thursby, Mark (Composer). 2017. Northampton : Conscious_Program.

Research output: Non-textual form typesCompositionResearch

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Thursby M (Composer). E̶7̵b9͜_̶A͟m9͞.aif Northampton: Conscious_Program. 2017.