synthesis, recordings. sooooo much Mutable Instruments happening on this tape.
a little difference, a little repetition, a little transparency.
Becoming the glass in front of you, the streaks of dirt outside and hands inside define a moment or a movement, are still the pane. Synthesis and field recordings you may have heard before, made hybrid in process and subject to transparency. Begin to think we are somewhere new.
“Early photographs were taken with such long exposures that someone could walk through a room and become a vague streak of white against a window opening on to more light, and so on.” Cole Swensen, The Glass Age
and yeah this was created entirely with on that table under the bikes from Hannes “tiny studio corner” thread.
In time for this release I also have a new article about @billygomberg on Horizontalpitch, with an in-depth interview where we talk a bit about his process and how he got into modular synths (and Mutable modules).
Check it out here: http://www.horizontalpitch.com/2018/05/billy-gomberg-carving-towards-coherency/
hey so I’m happy to be here to answer q’s and clarify anything I left vague or…whatever comes up as folks here read through this. I don’t try to keep much about the technical/material/process side of my work “secret,” but I don’t often discuss these things - consider the discussion open if you feel like hanging in with me.
thanks to Hannes for reaching out and including me, reading my responses and editing together into something (appropriately) coherent
the deep MI connection between Hannes and I was of course good to revisit, the Shruti lives in the small plastic case with my euro accessories intentionally to taunt me into bringing it out again!
hey @billygomberg, this was a cool article—been following your (and Anne’s) work for a while, so this was a nice read. So, I wondered how much of your stuff is a single take, and how much is multiple layers/takes? There’s a real depth in the last few tapes that I just figured was a bunch of individually recorded layers… but reading this, is it all live and then padded with processing?
most of my solo work is edited single stereo recordings. here is the edit for “Hesitant In Neon”:
(lol normalize much?)
and for “Really”:
I’m delighted that these look so simple, and almost a little embarrassed. the main utility to these edits are to draw the most significant/salient parts of a recording together, resolve transitions and erase hiccups. there is a lot of material I delete (or should), and more that I work through like this and doesn’t make it into a collection.
every channel has EQ, maybe some dynamic compression, and often a saturation stage. the furthest I get into “processing” is with delays. A Changed Meaning was similarly straightforward in the arrangements.
I don’t remember if I’ve ever gotten to a place with recorded material that I add an additional take to build out the idea, and it’s been a very long time since I’ve used the original “raw” recordings as basis for more intense processing and treatment as part of my creative process.
That’s a really interesting process. I’d love to be able to get to that point of keeping things so focused. Thanks, Billy!
I’m delighted that I’ve gotten here myself!