Loss Rose

Prix Découvertes Pierre Schaeffer 2021

Mélia Roger & Grégoire Chauvot, Birds and wires
4’47, autoproduction, France

Une clôture fraîchement construite entoure un point d’eau dans la campagne lyonnaise. À l’aube, les oiseaux s’y relaient pour boire. Leurs vols les amènent à se poser sur les fils barbelés, laissant naître des résonances métalliques. Cette phonographie révèle par surprise les traces de la musicalité du paysage.

“Une très belle rencontre sonore avec ces oiseaux acteurs musiciens qui conjuguent les volutes et les mélismes de leur vol avec des ponctuations timbrées des cordes de barbelés tendues comme des contrebasses fantomatiques. Avec une grande maîtrise du son, de sa captation, un art subtil du mixage à peine décelable, Mélia Roger et Grégoire Chauvet nous invitent à goûter cette rencontre du vivant avec l’art sonore comme un instant intriguant et appaisant.” (Jean-Loup Graton, membre du jury)

Mélia Roger (*1996) partage son temps entre le cinéma et l’art sonore. Après un master d’ingénieure du son (ENS Louis-Lumière, FR), elle développe depuis une approche artistique de terrain, explorant l’intimité de la voix et du paysage sonore. Entre Paris et Zurich, elle collabore à différents projets autour de l’écoute.

https://meliaroger.com

Grégoire Chauvot (*1992) est passionné d’oiseaux. Diplômé de la Femis, il enregistre le paysage pour construire des histoires, d’abord pour le cinéma et aujourd’hui pour le son seul. Il réalise des prises de son expérimentales à la recherche du beau et de l'inattendu.  

https://soundcloud.com/gchauvot

Le Dinard Podcast Festival #1 leur a consacré un portrait en juillet 2021, à retrouver sur Calaméo https://fr.calameo.com/read/006778443aa1e1d1c5db1

Mélia Roger & Grégoire Chauvot_Birds And Wires

Epuisement du sujet

artist: Rathrobin https://soundcloud.com/rathrobin
album: Ear to the Ground (NR016)
release date: 31st January 2022
duration: 36 minutes
edition: digital + limited edition CD

Naviar's first solo release of the year is the stunning concept album "Ear to the Ground" by electroacoustic duo Rathrobin.

Exploring the themes of memory and yearning, Ear to the Ground is a sonic journal of intertwined personal experiences: two nomadic authors pouring their creativity and feelings in a blank canvas that becomes a breathtaking collection of electroacoustic songs.

When Pier and Beth contacted me to release their album, I was mesmerized by the mood and poignancy of their soundscapes.
Ear to the Ground is cinematic music at its best: powerful and enveloping, inviting the listener on a journey that speaks of human nature, life, and personal evolution. Beth's voice gently guides us and hovers over Pier's captivating ambient layers, adding further depth to a multifaceted album that evolves together with the listener.

The main themes of ‘Ear to the Ground’ are time, memory and nostalgia, which are realized through textural, layered, emotive and evocative soundscapes.

During six years of collaboration, inevitably, the artists' own memories, experiences and lives were interwoven throughout the album, and their own, somewhat nomadic lifestyles reflected another significant theme of the album: the meaning of home.

Vocals, field recordings, digital and analogue instruments move through the album as a way for the artists and listeners to process experiences from the past and conjure thoughts of the future.

The album’s making was a long but consistent process and invariably included some periods of furious creativity and others of quiet contemplation.

About Rathrobin:

Beth Chesser (UK) and Pier Giorgio Storti (Italy) collaborated virtually, over a six-year period whilst simultaneously exploring the world, living in various countries. After meeting on Soundcloud they quickly began working on their first collaborative album, ‘Ear to the Ground’. Each are musicians in their own right, both have performed in live bands and a multitude of recorded musical projects. The collaboration sees Pier contribute his multi-instrumental aptitude with Beth’s vocals, and digital music compositions. All the tracks from their debut album have been recorded in various locations: Italy, UK, Singapore and Finland between 2015 and 2020.

Rathrobin - Ear To The Ground (teaser)

021322002 MDLR Ambient

You can learn to play this piece. FREE scores and parts, among other materials, are available online: 50ftf.kronosquartet.org

Composed by Aruna Narayan, arranged by Reena Esmail
© 2019 Inner Sunset Publishing
℗ 2022 Kronos Performing Arts Association
Commissioned for Fifty for the Future: The Kronos Learning Repertoire

Produced by Kronos Quartet and Reshena Liao
Recorded September 2021 at 25th Street Recording, Oakland, CA
Engineered by Zach Miley
Assistant engineer: Gabriel Shepard
Mixed by Zach Miley and David Harrington, January 2022

Aruna Narayan - Mishra Pilu

On Episode 284, learn about a student-built experiment that recently made its way to the International Space Station.

Houston We Have a Podcast: The Student-Built Camera Mount

The Shrovetide Fair

The Shrovetide Fair - Petrushka - No.1 - Igor Stravinsky

Asymptotic Freedom I - for six electric guitars

This is the first version of the piece (Asymptotic Freedom II – is going to be a one-hour long piece and performed in different rooms of the same building). 

The piece is created in close collaboration with my friends, wonderful musicians Chris Moy, Ruben Mattia Santorsa, Francesco Palmieri, Samuel Toro Pérez, Giuseppe Mennuti and Alejandro Tentor.

Special thanks to Yaron Deutsch for his support and curation of the project.

The project is commissioned by the studio la Muse en Circuit, Darmstädter Ferienkurse and Wittener Tage für neue Kammermusik.

Elena Rykova - Asymptotic Freedom I [six electric guitars] - headphone mix (2020)

Extension (for solo cello), performed by Amy Jolly

Comparison of nature soundscape microphone arrays by Andrew Skeoch and Doug Quin. 

4 microphone rigs were set up side by side, all axis aligned: MS (DQ), SASS (AS), Soundfield SP200 Ambisonic (DQ) and Iso-binaural (AS). 

All recording onto Sound Devices 7 series recorders at 24bit, DQ at 48kHz, AS at 44.1kHz. DQ's raw levels were quite low. The MS rig was close to the ground (see pic)

MS: Sennheiser MKH 30 + MKH 40 in Røde blimp
SASS: pair Sennheiser MKH 20s in Crown SASS head
Ambisonic: Soundfield SP200 Ambisonic, upright in Røde blimp
Iso-Binaural: Pair Sennheiser MKH 8020s, ~20cm apart, oriented 180º with convex baffles 

Location: Wet sclerophyll forest in small gully, Lower Gellibrand River, Otway Ranges, Vic. 18th February, approx 7am (post dawn chorus)

The ambisonic microphone can be rendered into almost any configuration, using Harpex proprietary software. DQ created several different renders as examples of what it can do. Screen shots of the software settings for reference. The MS rig has been decoded to stereo wide. 

In preparing edits,  DQ's files were down-sampled to 44.1 and everything to 16bit. Levels are subjective; all files have been normalised referencing the noise floor. This means some of the ‘noisier’ mics have been attenuated slightly to balance, thus reducing peak birdsong levels.

Nature Soundscape Microphone Comparison

Ambi ORTF

Kronos Quartet is David Harrington (violin), John Sherba (violin), Hank Dutt (viola), and Sunny Yang (cello).

http://kronosquartet.org/

Here you will find our recordings of new work commissioned for Fifty for the Future: The Kronos Learning Repertoire. Released over five years beginning in 2016, this collection of 50 compositions by 25 men and 25 women from around the world will be devoted to the contemporary approaches to the string quartet and designed expressly for the training of students and emerging professionals. Scores and parts, audio recordings, composer interviews, and many more resources are available for free on our website.

Founded over forty years ago, we are a San Francisco-based 501(c)3 nonprofit organization. For more recordings, please visit http://www.nonesuch.com/artists/kronos-quartet or http://kronosquartet.org/recordings Thank you!

Aruna Narayan - Mishra Pilu

kronosquartet

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