Cross Waves concert #1: Room Tone
Invited Artist: Alexandre St-Onge
Spatialized works : Magali Babin • Christian Bouchard • Michel F Côté • Mario Gauthier • Martin Tétreault • Nancy Tobin
July 25, 2014 at 8 pm
General $10
Invited Artist: Alexandre St-Onge
Spatialized works : Magali Babin • Christian Bouchard • Michel F Côté • Mario Gauthier • Martin Tétreault • Nancy Tobin
July 25, 2014 at 8 pm
General $10
Program:
I. in between | 2014 (7 :09) by Magali Babin
I am interested in space exploration as sound material. Natural and architectural spaces that have a different acoustic reality then their environment particularly interests me, they are what I call in between-spaces, which provide a filtered soundscape. When Stéphane Gilot asked me to add sound to his installation entitled Piece for five interpreters, pink light and silence, I spent long hours recording the empty gallery space where the structure would be built. I let myself slip into the «entr'entendu» as described by Michel Chion. "we assume that much of what has been glimpsed continues to exist, while under its sound aspect the entre'entendu has already completely disappeared, perhaps never to present itself ever again as it is". In Between is a reinterpretation of these present-past moments on which there is an atmosphere of small coincidence.
Version Française
I am interested in space exploration as sound material. Natural and architectural spaces that have a different acoustic reality then their environment particularly interests me, they are what I call in between-spaces, which provide a filtered soundscape. When Stéphane Gilot asked me to add sound to his installation entitled Piece for five interpreters, pink light and silence, I spent long hours recording the empty gallery space where the structure would be built. I let myself slip into the «entr'entendu» as described by Michel Chion. "we assume that much of what has been glimpsed continues to exist, while under its sound aspect the entre'entendu has already completely disappeared, perhaps never to present itself ever again as it is". In Between is a reinterpretation of these present-past moments on which there is an atmosphere of small coincidence.
Version Française
Je m’intéresse à l’exploration de l’espace comme matière sonore. Les espaces naturels ou architecturaux qui ont une réalité acoustique différente de celle de leur environnement m’intéressent particulièrement, ils sont ce que j’appelle des entre-espaces, qui offrent un paysage sonore filtré. Lorsque Stéphane Gilot m'a demandé de sonoriser son installation intitulée: Pièce pour cinq interprètes, lumière rose et silence, j'ai passé de longues heures à enregistrer l'espace vide de la galerie où serait construite la structure. Je me suis laissée glisser dans l'entr'entendu tel que le décrit Michel Chion. "...nous postulons qu'une bonne part de ce qui n'a été qu'entrevu continue d'exister, tandis que sous son aspect sonore l'entre'entendu a déjà complètement disparu, ne se représentera peut-être plus jamais tel quel..." In Between est une réinterprétation de ces moments présents-passés sur lesquels plane une petite coïncidence.
II. CarTone_10102013-9:52 | 2014 Première (7 :01) by Christian Bouchard
This slice of time is from the first 10 minutes of a sound recording session in Montreal on October 10, 2013. «CarTone» starts at 9h52AM. It is taken from inside and outside my Dodge Caravan on an 8 track recording session in Reaper. The track list is as follows :
1- Microphone Shotgun Sanken CS-3e, set outside on the rooftop facing backwards.
2- Microphone Hyper cardioid Sennheiser MKH-8050, set inside on the dashboard.
3- Fire station frequencies taken by internet.
4- Police station frequencies taken by internet.
5-6- FM radio one.
7-8- FM radio two.
I chose the recording location for its potential for a diversity of sounds: on one side there are three-storey houses (reverberation) and the other side is open to the Vieux-Port de Montreal (sidewalk, birds, trucks, boats…). The street is cobblestone, so the sound of cars driving is naturally transformed and enhanced. There were also some deliveries made nearby. I have added a bit of reverb on the master but have not transformed any of the source material. It is a montage, using automation of volume, pan, mute and solo to reveal the musical potential of this «portrait sonore».
This slice of time is from the first 10 minutes of a sound recording session in Montreal on October 10, 2013. «CarTone» starts at 9h52AM. It is taken from inside and outside my Dodge Caravan on an 8 track recording session in Reaper. The track list is as follows :
1- Microphone Shotgun Sanken CS-3e, set outside on the rooftop facing backwards.
2- Microphone Hyper cardioid Sennheiser MKH-8050, set inside on the dashboard.
3- Fire station frequencies taken by internet.
4- Police station frequencies taken by internet.
5-6- FM radio one.
7-8- FM radio two.
I chose the recording location for its potential for a diversity of sounds: on one side there are three-storey houses (reverberation) and the other side is open to the Vieux-Port de Montreal (sidewalk, birds, trucks, boats…). The street is cobblestone, so the sound of cars driving is naturally transformed and enhanced. There were also some deliveries made nearby. I have added a bit of reverb on the master but have not transformed any of the source material. It is a montage, using automation of volume, pan, mute and solo to reveal the musical potential of this «portrait sonore».
III. 63 apparitions no7 | 2004 (3:06) by Michel F Côté
Cannibal music, socratic glances.
In a line that goes from John Cage to Érik Satie, Michel F Côté has created a collection of fifteen inter-related situations. Vacant lots, a nostalgia for clockwork, lost eras, outmoded machinery, redundant melodies, the yellow smiles of faded images: 63 apparitions is a catalogue of spectral compositions. These things happen.
Cannibal music, socratic glances.
In a line that goes from John Cage to Érik Satie, Michel F Côté has created a collection of fifteen inter-related situations. Vacant lots, a nostalgia for clockwork, lost eras, outmoded machinery, redundant melodies, the yellow smiles of faded images: 63 apparitions is a catalogue of spectral compositions. These things happen.
IV. Objets (re)trouvés – Room Tone | 2009 (4: 14)3 - Roomtone by Mario Gauthier
Origin: a "Roomtone", ie the ambient sound of a room where a film is running.
At the time I made this piece, I worked in the sound archives domain. In this context, I was listening to a lot of old things and I often found sounds left behind. End of tapes unrecorded or which were improperly erased, bits of the sounds left inadvertently, defaults, unsuccessful attempts, errors were such lucky finds for me that I restored or digitized the tapes or audio artifacts for myself.
Objets (re)trouvés is a series of short pieces that have as a common denominator to have been made from some of these "lost" objects. Moreover, at most they were "lost" for a while. Because, as Valéry says "It is difficult to find an example of something forgotten, this is contradictory because remember, we remember" (Book II, P. 57). So I chose to remember these specific objects, perhaps because they had awakened in me some remembrance, sympathy or reminiscence.
Thanks to all the Avatar team and Jocelyn Robert. Context of production: Sound Excavation - Avatar
Version Française
Origin: a "Roomtone", ie the ambient sound of a room where a film is running.
At the time I made this piece, I worked in the sound archives domain. In this context, I was listening to a lot of old things and I often found sounds left behind. End of tapes unrecorded or which were improperly erased, bits of the sounds left inadvertently, defaults, unsuccessful attempts, errors were such lucky finds for me that I restored or digitized the tapes or audio artifacts for myself.
Objets (re)trouvés is a series of short pieces that have as a common denominator to have been made from some of these "lost" objects. Moreover, at most they were "lost" for a while. Because, as Valéry says "It is difficult to find an example of something forgotten, this is contradictory because remember, we remember" (Book II, P. 57). So I chose to remember these specific objects, perhaps because they had awakened in me some remembrance, sympathy or reminiscence.
Thanks to all the Avatar team and Jocelyn Robert. Context of production: Sound Excavation - Avatar
Version Française
À l’époque où j’ai réalisé cette pièce, je travaillais dans le domaine des archives sonores. Dans ce contexte, j’écoutais énormément de choses anciennes et j’y trouvais très souvent des sons laissés pour compte. Fin de bandes magnétiques non enregistrées ou qui avaient été mal effacées, petits bouts de son laissés par mégarde, défauts, essais infructueux, erreurs étaient autant de trouvailles que me réservaient les bandes ou artefacts sonores que je restaurais ou digitalisais.
Objets (re)trouvés est une série de courtes pièces qui possèdent comme dénominateur commun d’avoir été composées à partir de certains de ces objets « perdus ». D’ailleurs, tout au plus furent-ils « perdus » pendant un temps. Car, comme le souligne Valéry, « Il est malaisé de chercher un exemple de chose oubliée, c’est contradictoire puisqu’on se rappelle qu’on se rappelle » (Cahier II, P. 57). J’avais donc choisi de me souvenir de ces objets spécifiques, peut-être parce qu’ils avaient éveillé en moi quelques souvenirs, sympathie ou réminiscence.
Je remercie toute l’équipe d’Avatar ainsi que Jocelyn Robert.
Contexte de production : Excavation sonore - Avatar
Objets (re)trouvés est une série de courtes pièces qui possèdent comme dénominateur commun d’avoir été composées à partir de certains de ces objets « perdus ». D’ailleurs, tout au plus furent-ils « perdus » pendant un temps. Car, comme le souligne Valéry, « Il est malaisé de chercher un exemple de chose oubliée, c’est contradictoire puisqu’on se rappelle qu’on se rappelle » (Cahier II, P. 57). J’avais donc choisi de me souvenir de ces objets spécifiques, peut-être parce qu’ils avaient éveillé en moi quelques souvenirs, sympathie ou réminiscence.
Je remercie toute l’équipe d’Avatar ainsi que Jocelyn Robert.
Contexte de production : Excavation sonore - Avatar
V. Vorm | 2005 by Martin Tétreault
Worm is an excerpt from an improvisation that took place in the studio October 20, 2005 at Rotterdam Worm radio. This performance is part of a current reductionism. The devices used were minimal: cd player, record player-radio, a small motor, a computer microphone, handset. The location of the microphones and the choice of associations provide turn by turn views of the internal chamber of the turntable and the sound generated by this device.
http://www.worm.org
Version Française
Worm is an excerpt from an improvisation that took place in the studio October 20, 2005 at Rotterdam Worm radio. This performance is part of a current reductionism. The devices used were minimal: cd player, record player-radio, a small motor, a computer microphone, handset. The location of the microphones and the choice of associations provide turn by turn views of the internal chamber of the turntable and the sound generated by this device.
http://www.worm.org
Version Française
Worm est extrait d’une improvisation qui s’est déroulée en studio le 20 octobre 2005 à la radio Worm de Rotterdam. Cette performance s’inscrit dans un courant réductionniste. Le dispositif utilisé est minimal: un lecteur cd, un tourne-disque-radio, un petit moteur, un micro d’ordinateur, un microtéléphone. L’emplacement des microphones et le choix des associations donnent tour-à-tour des points de vue sur la chambre interne du tourne-disque et de la génération sonore de cet appareil.
VI. DelayToys-04 | 2009 by Nancy Tobin
Delay Toys is a sound composition project based on childhood and memory, produced between 2004 - 2009. The entire instrumentation is based on a series of toys from the 1970 - 80s, contained in two suitcases. The recordings of the toys were conducted in two different contexts: with an interpreter in a field environment, and by myself in an isolated sound booth at OBORO New Media Art Lab, in Montreal (Canada).
NANCY TOBIN Toy improvisation, voice, field recording, composition, editing, mixing. Martin Tétreault Toy improvisation, voice. With the participation of: Nathalie Derome, Anna Friz, Hélène Prévost, Paul Tobin, Carl Trahan, Siôned Watkins, Stéphane Claude: Studio recording, mastering.
The artist wishes to thank:
- The Canada Council for the Arts for its generous support. OBORO, Residency Program, New Media Art Lab. Claude La Haye, Éric Prévost.made in Montreal (2009)
Delay Toys was made with:
- Lexicon Digital Delay PCM42 Electro-Harmonix Deluxe Memory Man Analog Delay pedal Clavia Nordlead 3 performance synthesizer RME FireFace 400 sound card Edirol R-09 sound recorder Digidesign Pro Tools editing software Magix Samplitude editing software Ableton Live performance software Neumann M149 Microphone Rode NT4 Stereo Microphone Royer SF-24 Active Stereo coincident Dynamic Ribbon Microphone (my favorite) Schertler double bass transducer Schoeps X/Y Stereo CMXY-4V Microphone Schoeps CCM41 Microphone Soundfield ST-250 Microphone system.
Delay Toys is a sound composition project based on childhood and memory, produced between 2004 - 2009. The entire instrumentation is based on a series of toys from the 1970 - 80s, contained in two suitcases. The recordings of the toys were conducted in two different contexts: with an interpreter in a field environment, and by myself in an isolated sound booth at OBORO New Media Art Lab, in Montreal (Canada).
NANCY TOBIN Toy improvisation, voice, field recording, composition, editing, mixing. Martin Tétreault Toy improvisation, voice. With the participation of: Nathalie Derome, Anna Friz, Hélène Prévost, Paul Tobin, Carl Trahan, Siôned Watkins, Stéphane Claude: Studio recording, mastering.
The artist wishes to thank:
- The Canada Council for the Arts for its generous support. OBORO, Residency Program, New Media Art Lab. Claude La Haye, Éric Prévost.made in Montreal (2009)
Delay Toys was made with:
- Lexicon Digital Delay PCM42 Electro-Harmonix Deluxe Memory Man Analog Delay pedal Clavia Nordlead 3 performance synthesizer RME FireFace 400 sound card Edirol R-09 sound recorder Digidesign Pro Tools editing software Magix Samplitude editing software Ableton Live performance software Neumann M149 Microphone Rode NT4 Stereo Microphone Royer SF-24 Active Stereo coincident Dynamic Ribbon Microphone (my favorite) Schertler double bass transducer Schoeps X/Y Stereo CMXY-4V Microphone Schoeps CCM41 Microphone Soundfield ST-250 Microphone system.
VII. Ovicorcupueeleetiheearn | 2014 (20 :00) performance Premiere by Alexandre St-Onge
Ovicorcupueeleetiheearn is a sound performance generated by various tactics of pragmatic approach of the ungraspable that testify on the emergence of monstrous voices and hermetic entities through the creative process and improvisation. Ovicorcupueeleetiheearn is a heterogenous creature adapting itself to its environment by using the acoustic properties of the room and the psychic space of the performer to recontextualize multiple sound spectres. Ovicorcupueeleetiheearn
Ovicorcupueeleetiheearn is a sound performance generated by various tactics of pragmatic approach of the ungraspable that testify on the emergence of monstrous voices and hermetic entities through the creative process and improvisation. Ovicorcupueeleetiheearn is a heterogenous creature adapting itself to its environment by using the acoustic properties of the room and the psychic space of the performer to recontextualize multiple sound spectres. Ovicorcupueeleetiheearn