I started by asking the kids to select "five super tiny sounds". I resisted giving them any further instruction. They came up with: 

1) foaming hand-soap dispenser
2) water drip
3) pillow fluff
4) knitting needles
5) page turning.

This was surprisingly hard! The injunction not to modify the five sounds, and work only with rhythm made me really work. And constraining myself to the five sounds the kids came up with (even if not strictly "pin prick" sized) compounded the problem, as they didn't naturally form a cohesive set of sounds.

I opted to focus on "super tiny" in the rhythm: It grows just one note every two measures, starting from five notes, one per sound. It also accelerates by a tiny amount through to the end. I also decided that adjusting the volume per note was acceptable (but no amplitude modulation or envelope, save click reduction). I had to work from both ends: Composing the final rhythm, then reducing to just five notes for the start, and then mostly working backwards from the final point.

Composed in Ableton Live... no processing on the sounds or mix.

Concrète Clave (Disquiet 0215 - Tiny Rhythms)

This is an account for various experiments and snipptes.
My main musical project, is Electric Kitchen. See the link:

UK creatives should listen to this: https://www.youtube.com/watch?v=yK4wBWiozyM

You must hear this: https://vimeo.com/52766051

*****

Ed Brunsden was kind and patient enough to interview me for  his blog Desert... Mountain... Dust...  - you can read it at https://desertmountaindust.blogspot.com.au/2017/02/tuonela-primitive-progressive.html

After silence, that which comes nearest to expressing the inexpressible is music. ~ Aldous Huxley

All good music resembles something. Good music stirs by its mysterious resemblance to the objects and feelings which motivated it. ~ Jean Cocteau

All music is beautiful. ~ Billy Strayhorn
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

I've become addicted to drone. Again. I was the kid with his head on the piano, listening to the overtones die away, or pressing his ear to the steel hull of the ferry, enthralled by the sounds it created. I was the kid who formed wordless songs to accompany the sound of train wheels on a long journey, or hummed along with the fan on a hot day.

In the 60s I used to play my 45s on 16, or backwards, or by hand using razor blades as stylii.

I made cut-up tapes on a cheap cassette recorder in the 70s and experimented with reel-to-reel in the 80s. 

Thank you Subotnick, Lygeti, Coltrane, Jimi, Mimaroglu, Eno, Cluster, Tangerine Dream, Klaus Schulze, Frank Zappa, Pink Floyd, Kraftwerk, Throbbing Gristle...

I am not a musician. I am a scavenger of sounds. I use the most basic software to process those sounds, stretching and filtering until something emerges that makes a joyful noise. Or not...

Electronic Musician, Percussionist, Guitarist and Composer. Modular Synth Enthusiast
http://rupertlally.bandcamp.com 
http://www.rupertandespen.com

C H E A P  C O N C R E T E  |  C O N T R I V E D  G L I T C H E S™ | C O N T EN T  S O L U T I O N S

Concrète Clave (Disquiet 0215 - Tiny Rhythms)

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