Field Recording Notebook

Deep Cuts: Experimental & Electronic

Music Portfolio

The Shadow (Global/Electronic)

Field Recording in The Gordon Natural Area on the Campus of West Chester University of Pennsylvania. Recorded with a Zoom H3-VR. Rendered from Ambisonic to Stereo.

Gordon Natural Area 03-03-24

Jam & Toast (Funk/Hip Hop)

Rhythmic Study from TERRA. A rhythmic study composed during the creation of the sound score for TERRA: Bodies and Territories, an upcoming site-specific dance piece choreographed by Silvana Cardell at the Schuylkill Center for Environmental Education.

This etude is built entirely from field recordings captured on-site at the Schuylkill Center in Philadelphia—sticks, branches, leaves, rocks, and weathered iron transmission lines transformed into percussive elements. The organic textures of the forest become the foundation for rhythm and timbral evolution. 

Composed using Ableton Live and Max for Live. Microphones include the Zoom H3-VR and Metal Marshmallow Contact Mic. 

TERRA premieres June 13-15 & 20-22, 2024.
Learn more: https://schuylkillcenter.org/terra/



Terra: Rhythmic Study

Lets Go (Hard Rock)

Little Transformer (Panda Chocolate Ad.)

Down The Way (Indie-Pop)

Music Composed and Arraged by Devin Arne for Filmstro
Trumpet By Bryson Barnes
© Filmstro Ltd.
Available in the Filmstro Library under the title Chicago.

Noir (Fast) Feat. Bryson Barnes

Jet Set. Retro. Mystery. Global-Jazz
Available in the Filmstro Music Library as "Furaha"
Composed & Produced by Devin Arne
© 2017 Filmstro Ltd.

L'autre Mer

Deja Vu is featured on Lab Hits compilation "Daydreaming - Uplifting Future Bass"
Track available to license for media use at: https://labhits.sourceaudio.com/#!explorer?b=6628730
Produced by Devin Arne for Lab Hits
©2019

Deja Vu

Roadside Apparition explores the iconic desert landscapes of Arizona through sound. Processed layers of electric guitar conjure memories of a forgotten time, of seemingly endless roads and the romanticized landscape of the American West. Field recordings and found-object percussion create a sense of space and mystery. Sonic mirages occur as seemingly solid sounds vaporize into clouds of echo and reverberation.

The track was inspired by the painting 'Refracted Oasis' by Laura Spaulding Best. The track will be featured at the exhibition, I see what your seeing at the Scottsdale Center for the Performing arts starting on January 17th.

Cover Art: Refracted Oasis by Laura Spaulding Best

Roadside Apparition

In Place is an exploration of the sounds of home and the mental states that arise from being sheltered in place. The source material for the piece are recordings of pots, glasses, running water, and a dog barking at a broom. These familiar sounds are then altered in both size and texture. A major theme explored is the transformation of states of matter: solids become liquid, and liquids become frozen and crystalline. Through the (d)evolution of sounds, In Place explores the constant flux of perception of the external world and the internal worlds of thought, memory, and daydreams. 

I recorded all sounds using a stereo pair of Røde M5 microphones. I used GRM Tools plugins, Spear, and RX to edit and process the sound creating a folder of sonic assets that I used to construct the piece. The piece was arranged and mixed using Reaper, IEM Ambisonic plugins.  In Place follows a palindromic form based around material: ceramic, glass, water, straw/animal, water, glass, ceramic.

In Place (Binaural Mix)

Location: Yarmoth Port, MA
Recorded 7/25/20
Tascam DR-07
Recorded by Devin Arne

Tree Behind Taylor-Bray Farm

Marsh at Taylor-Bray Farm

The Bells Neck Conservation Lands are 259 acres of preserved land in Harwich, MA. This recording was captured on August 1st, 2020 at around 9:00 AM.

Bells Neck Conservation Lands

Recorded by Devin Arne
August 08, 2020
Recorded on Tascam DR-70

Notes: Birds, light insects, occasional car passing on the nearby road.

Harwich Port Woods

Hawksnest State Park

This piece is an exploration of timbre and gesture. All sounds were recorded by playing the same note (E5) on various guitars, using different articulations, bowed, picked, and fingers. Using GRM tools, iZotope RX, and Logic, the sounds were processed and reimagined to construct the piece's form. The title is inspired by Timothy Morton's Hyperobjects. In his book, Morton uses the mundane phrase "objects in mirror are closer than they appear" as a metaphor for the closeness of hyperobjects (climate change, nuclear waste) in the age of the Anthropocene. There is no longer an "over there" or an "away." We find ourselves close, at times uncomfortably so, with the surrounding world. 

Cover Art: Mirror by Alice Guareschi

Devin Arne

Pinned to spotlight

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