Field Recording and Editing by James Bulley.

Recorded in early May 2011 using a stereo Audio Technica BP4029 Microphone and Tascam HD-P2.

Field Recording: Snape Maltings Reed Beds and Aldeburgh Sea

Field Recording: Windswept Masts in Aldeburgh Boatyard

Audio documentation of the sound installation, Living Symphonies

Living Symphonies Fineshade Woods Day 11am - Excerpt 2

Living Symphonies Fineshade Woods Evening 7pm - Excerpt 1

Living Symphonies Cannock Chase Evening 5pm - Excerpt 1

Study made during the development of the Maelstrom Installation at the Museum of Science and Industry, 2012.

8 Notes played by 8 Hundred Players

Speech Experiment made during the development of the Maelstrom Installation at the Museum of Science and Industry, 2012.

Speech Experiment

Study on String Formation made during the development of the Maelstrom Installation at the Museum of Science and Industry, 2012.

String Formation

Maelstrom Excerpt, Museum of Science and Industry, 9 June 2012, 1428-1430
Recorded with Audio Technica BP4027 Stereo Shotgun Microphone.

Over 48 hours of user-created audio is uploaded to the internet every minute, a figure that is increasing exponentially. Maelstrom is a sound installation that draws on this material in real time, constructing shifting walls of sound from thousands of audio fragments.

By organising these fragments based on their tonal attributes, they collectively form a vast instrument, whose properties are affected by global internet activity. A score composed specifically for this instrument voices an endless series of chord variations, dynamically generated by an array of live processes. The outputted sounds, recomposed from user contributed audio sources on the Internet, are then spatialised around the listener.
For the FutureEverything installation of Maelstrom, the sound material was drawn from the internet (YouTube, Freesound etc) based on a named tagging system (Violin, Viola, Cello, French Horn, Double Bass, Flute, Piccolo, Drone) - this meant that only material tagged as being one of this Octet of instruments was considered for inclusion in the compositional system. The score itself was then composed and arranged based upon the instrumentation and the site itself.

The physical, sculptural installation of Maelstrom consists of twelve repurposed ceiling-hung hi-fi speakers, sourced from streets, markets and second hand shops in the area surrounding the installation site. These repurposed speakers, hung in a spiral formation, pay tribute to the countless, easily disposed home hi-fi systems that are in use all over the world.

Maelstrom builds a tornado of tonal cluster chords around its spiral speaker system, engulfing the listener in the swirling mass of information that is now an integral part of our day-to-day lives.

Maelstrom, Museum of Science and Industry, 10 June 2012, 10am

Maelstrom Excerpt, Museum of Science and Industry, 9 June 2012, 1428-1430
Recorded with Audio Technica BP4027 Stereo Shotgun Microphone.

Over 48 hours of user-created audio is uploaded to the internet every minute, a figure that is increasing exponentially. Maelstrom is a sound installation that draws on this material in real time, constructing shifting walls of sound from thousands of audio fragments.

By organising these fragments based on their tonal attributes, they collectively form a vast instrument, whose properties are affected by global internet activity. A score composed specifically for this instrument voices an endless series of chord variations, dynamically generated by an array of live processes. The outputted sounds, recomposed from user contributed audio sources on the Internet, are then spatialised around the listener.
For the FutureEverything installation of Maelstrom, the sound material was drawn from the internet (YouTube, Freesound etc) based on a named tagging system (Violin, Viola, Cello, French Horn, Double Bass, Flute, Piccolo, Drone) - this meant that only material tagged as being one of this Octet of instruments was considered for inclusion in the compositional system. The score itself was then composed and arranged based upon the instrumentation and the site itself.

The physical, sculptural installation of Maelstrom consists of twelve repurposed ceiling-hung hi-fi speakers, sourced from streets, markets and second hand shops in the area surrounding the installation site. These repurposed speakers, hung in a spiral formation, pay tribute to the countless, easily disposed home hi-fi systems that are in use all over the world.

Maelstrom builds a tornado of tonal cluster chords around its spiral speaker system, engulfing the listener in the swirling mass of information that is now an integral part of our day-to-day lives.

Maelstrom Excerpt, Museum of Science and Industry, 9 June 2012, 2.28pm

Radio Reconstructions
19 March 2013

Daniel Jones and James Bulley

Field recording of live Broadcast on Resonance FM 104.4. 8-8.30pm made using an Audio Technica BP4027 Stereo Shotgun Microphone

Radio Reconstructions is a sound installation that uses indeterminate real-time radio broadcasts as the raw material to create a live musical composition.

Tonight’s broadcast is the second of two evening concerts that employ time specific scores for the installation, exploring the specific radio programming and patterns that can be received at the Vyner Street location.

The constantly shifting composition is performed through a multi-channel system of re-purposed analog radios. The scores underlying Radio Reconstructions are written for ensemble and soloist - duetting radio tuners are heard mapping rhythmic and narrative trajectories through real-time analog radio broadcasts. whilst surrounding them, complex harmonic chords and rhythms are constructed from thousands of pitched fragments of radio broadcasts. Listeners may encounter snippets of pirate radio, talk shows, FM adverts, music radio and intercontinental shortwave broadcasts.

Radio Reconstructions uses the vast, ever-changing wealth of radio broadcasts as a complex and indeterminate musical resource, with thousands of unknown broadcasters becoming an implicit, essential part of the composition.

Analogue FM broadcasts are currently slated for a UK switch-off date between 2017 and 2022, beyond which point the airwaves will be made up almost entirely of static noise.

Thanks to: Resonance FM, Gino Saccone, Tam Vibert, Thomas Ermacora, Emma Houston.

http://www.jjbdjj.com

Radio Reconstructions, Resonance FM Broadcast, 19 March 2013

Sound art, music, and process-based composition.

Jones/Bulley

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