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ENK3I - EXTENSIONS EP

I've decided to name this EP ''Extensions'' as the main method of recording was using instrument extensions. I've posted it on Soundcloud for now to get some feedback for the main release on 20th of June, 2018.

https://soundcloud.com/enk3i/sets/enk3i-extensions

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Making of the track “Keys for keys”

   In this track the main sound source was piano. I arranged a recording session with N.Mamcaczyk and J.Smail so they could help me with the process. By inserting wooden and metallic objects, like keys, guitar picks, kitchen spatula, I was able to prepare the piano to a point, where the traditional sound of piano was gone. These techniques were mainly influenced by J.Cage and his ''Prepared piano'' Facweb.cs.depaul.edu. (2018). Prepared Piano. [online] Available at: http://facweb.cs.depaul.edu/sgrais/prepared_piano.htm [Accessed 8 May 2018].

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Making of  the track''Fides''

The track “Tale piece” was made using a violin as the main sound source. By using various extended techniques, such as Scordatura tuning, different tapping techniques, bowing on the bridge and the tailpiece of the violin, striking strings, using scratch notes and 'silent' fingering techniques. As I don't own a violin myself, I had to reach out to Kevin DeCristofaro and rent the instrument for the recording.

Andrewhugill.com. (2018). The Orchestra: A User's Manual - Violin Extended Techniques. [online] Available at: http://andrewhugill.com/OrchestraManual/violin_extended.html [Accessed 19 May 2018].

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Making of the track “Menbrain”, collaboration with Blurd Vision

The track ''Menbrain” was made using a small drum kit as the main sound source. By using different extended techniques for percussion, such as playing the snare drum with hands, bending the membranes of toms, dragging a drumstick across the cymbals. As most of the sounds had no distinctive pitch, I decided to base the track on rhythms, rather than melodies. After the first few sketches, the piece was shaping to be more house/techno like, so I decided to collaborate with a producer Blurred Vision, as he has a lot of experience in these genres of music.

https://soundcloud.com/blurdvision

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Making of the track ''Broken air''

The track “Broken Air” was made using an old accordion as the main audio source. I managed to dismantle the instrument, which allowed me to access parts and details that were previously hidden. Doing so, I was able to manipulate the air flow through the vents of the keys by cents creating vibrato and dissonance in the tone. I also recorded the sound of air going through its bellows, which created a similar sound to white noise, but with really specific dynamics. 

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Artwork

I've approached Martins, who is a visual artist from Latvia, to talk through some of the ideas for the album art. I explained, that I would like to have a caricature for each of the tracks. As each of the tracks is made from a single instrument, idea was to picture these instruments in a similar style S.Dali has done his surreal paintings.

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Making of the track ''Boxed in''

The track “Boxed in” was created using a prepared saxophone as the main sample source. By using some of the techniques mentioned by prof.Andrew Hugill in his “Orchestra: A user manual” I was able to collect a variety range of sounds. By playing air notes, using the slap tongue and key klick techniques, I recorded all the sounds without actually playing the instrument. I also dissembled the instrument in its 3 main parts, allowing me to play around with each object separately. By doing this, it allowed me to gather a wide spectrum of sounds that would not be possible when put together normally.

References

Andrewhugill.com. (2018). Saxophone: extended techniques. [online] Available at: http://andrewhugill.com/manuals/saxophone/extended.html [Accessed 14 Apr. 2018].

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Making of the track ''String theory''

In the track “String Theory’’, main sample source was provided from the recordings of a prepared guitar. I managed to book a studio session at RecMore Studios in Ogre, so I could record the sounds in good quality. I hired a sound engineer Eriks Aizpurs who would help me monetise the recording process.    Influenced by some of the techniques and methods mentioned by the Parsons&NWE blog, I recorded a variety of sounds, acquired from the only from the guitar. Such methods included the  attachment of prepared objects to strings directly, such as guitar picks, coins and metal rings. I also  applied techniques, that stimulated the strings directly, such as tapped and false harmonics, tapping of a prepared object against the body of the guitar.

Reference

PREPARED GUITAR: A LIST OF TECHNIQUES. (2013). [Blog] Parsons&NWS. Available at: https://parsonsnws.wordpress.com/resources/prepared-guitar-techniques/ [Accessed 10 Apr. 2018].

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Philosophical aspect of prepared instruments

It seems that sound, in general, has become music, or at least is widely accepted as such. If so, are traditional instruments able to compete with the wide range of complex sounds that a computer can generate? And, what kinds of instrumental techniques would be necessary to produce complex sounds? Do we really need trained musicians to play essentially music that is unidiomatic to their own instruments; do we really need conventional instruments at all? And if not, when does a primitive object become a musical instrument and how? [Murguía, 2011]

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recording a broken accordion

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This diagram shows the known and available augmentation processes of instruments and their sound.

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Concept

   The main concept of the album is to actualise organic sounds made by simple and everyday musical instruments. By using extended techniques and different ways of musical instrument preparation, it is possible to acquire unique sounds, that are usually neglected by instrumentalists, producers and composers. 

  One of the first composers of 20th century, that started to experiment with similar concepts was Helmut Lachenmann. In this field one example is Helmut Lachenmann. “He defines his music as “Instrumental Music Concrete”, as a reference to the term employed by Schaeffer adapted to his own instrumental composition.” [Murguia, 2011] Lachenmann looks at the sound source as energy with various amplitudes that are made from different musical expressions, evolved from unconventional instrumental actions that are not traditional to a specific instrumental activity, but that we experience constantly in our daily life. [Murguia, 2011] By using the different characteristics of instruments, such as intensity, pressure, distortion, Lachenmann is converting them into a context where the complex combinations achieved by the juxtapositions of previously neglected instrumental sounds is the main focus. [Murguia, 2011]

Hacking Traditional Instruments

Approaches to sound-oriented instrumental composition [Murguia, 2011]