Fleurieu & Kangaroo Island Sound Map recordings (2011-present)

More on the 691st weekly Disquiet Junto project, Un-Ravel — The Assignment: Make a recording of a string quartet fall apart — at https://disquiet.com/0691/

Un-Ravel

Disquiet Junto| Un-Ravel - disquiet0691

I selected the 4th movement of the quartet, chopped it up and remixed it to a stereo track. Then, by means of many adjustments and various effects, I converted it to a modern atonal/microtonal composition.

More on the 691st weekly Disquiet Junto project, Un-Ravel — The Assignment: Make a recording of a string quartet fall apart — at https://disquiet.com/0691/

Ravel Revamped (disquiet0691)

Ravel from the 1920s, timestretched in ableton, then converted to midi and combined, fx etc

More on the 691st weekly Disquiet Junto project, Un-Ravel — The Assignment: Make a recording of a string quartet fall apart — at https://disquiet.com/0691/

un-ravel +3 mix [disquiet0691]

Following this week's Disquiet Junto project this track was created using a historic recording of the Ravel string quartet from 1928.
This is the sound of a dream, dissolved beyond recognition, but still present as the conscious cause of this unconscious music.

The audio was transformed using spectral synthesizers and effect chains to create this dreamlike rendition. No other sounds or instruments were employed.

More on the 691st weekly Disquiet Junto project, Un-Ravel — The Assignment: Make a recording of a string quartet fall apart — at https://disquiet.com/0691/

rêver  (Disquiet0691)

Edited, mixed & mastered on 28 Mar 2025 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa, USA. 

This piece uses a 1928 recording by the Capet String Quartet of Ravel’s string quartet (Col. D 15057-60).

The original source is the Internet Archive: 

https://archive.org/details/3-capet-sq-col-d-15057-60-ravel-1928-mov-3/

Photography - Jim Lemanowicz, 24 Apr 2009, Massapequa & NYC, NY, USA

©2025 Jim Lemanowicz

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This original version of “Chowder Spray” was submitted as part of Disquiet Junto Project 0691: Un-Ravel. The Assignment: Make a recording of a string quartet fall apart.

More on the Disquiet Junto at: disquiet.com/junto/

More on the 691st weekly Disquiet Junto project, Un-Ravel — The 
Assignment: Make a recording of a string quartet fall apart — at https://disquiet.com/0691/

Chowder Spray (disquiet0691)

“Unraveling a revealing Ravel” takes the final twelve seconds of Ravel’s Capet string quartet in F Major (1903) as the material to apply the idea proposed in Disquiet Junto 0691: “it should make the Ravel sound like it is falling apart — that is, like it is unraveling, or un-Ravel-ing”. 
The tripartite microstructure of those final measures has been mapped into the three sections of the track: the first one starts with the clean original audio and quickly derives into a vivacious sequence of micro-editions, gating and spectral smearing; the second section transitions from energico to adagio until the chords seem to be suspended for a while, just to be submitted to different kinds of decimation, downsampling, aliasing, vacuum tube distortion, vinylic noisification, and bitcrushing; the piece closes with an exagerated ritardando, and wild filtering and cutting of excerpts that maybe expose some microfeatures of the final chord before leaving it totally unravelled. 
More on the 691st weekly Disquiet Junto project, Un-Ravel — The Assignment: Make a recording of a string quartet fall apart — at https://disquiet.com/0691/

This piece uses a 1928 recording by the Capet String Quartet of Ravel’s string quartet (Col. D 15057-60).
The original audio source can be found here:
https://archive.org/details/3-capet-sq-col-d-15057-60-ravel-1928-mov-3/

Unraveling a revealing Ravel [disquiet0691]

I was a bit lazy with this one and also pressed for time. I basically ran the original file through a number of granular plug ins, fading and mixing them against each other and towards the end rendering the mix into an ambient wash. Hints of Ravel remain, moving in and out, here and there....

disquiet0691

Disquiet Junto Project 0691: Un-Ravel
The Assignment: Make a recording of a string quartet fall apart.

Step 1: Download the first movement of the Ravel string quartet at this URL: https://bit.ly/un-ravel

The original source is the Internet Archive: https://archive.org/details/3-capet-sq-col-d-15057-60-ravel-1928-mov-3/

Step 2: Listen to the track closely.

Step 3: Create a new piece of music by employing the provided recording as source material. The goal for your piece is that it should make the Ravel sound like it is falling apart — that is, like it is unraveling, or un-Ravel-ing.

More on the 691st weekly Disquiet Junto project, Un-Ravel — The Assignment: Make a recording of a string quartet fall apart — at https://disquiet.com/0691/

unravelling [disquiet0691]

Un-Ravel [disquiet0691]

the end result is not so much a string quartet falling apart as it is a resonator-granular garble, but that's how it is sometimes

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More on the 691st weekly Disquiet Junto project, Un-Ravel — The Assignment: Make a recording of a string quartet fall apart — at https://disquiet.com/0691/



disquiet0691 - gravel

A FLEURIEU SOUND MAP SITE. www.tristanlouthrobins.com/fleurieu_soundmap/

Further details regarding this site can be found via this link: 
http://www.tristanlouthrobins.com/fleurieu_soundmap/sites/GWA006.html

During 2012 I made a lot of recordings at the Goolwa Barrages - located about 2km south of the Goolwa township. It was a fairly miserable afternoon, with a light drizzle being blown about erratically by strong winds. There was a steady current in the Murray River and this was particularly evident at the Barrage gates, with a steady cascade of water coursing through.

As I've mentioned in my notes accompanying a recording near Milang from the same year, I'd been experimenting with DIY hydrophones constructed from a variety of materials. This one (called 'Bob', pictured in the audio embed below) was made from a cheap bento box with a piezo transducer stuck inside. Whilst the hydrophone 'Nancy' was the superior hydrophone (used at Milang), its only disadvantage was that it didn't have a great deal of weight and wouldn't sink very well. 'Bob' had some plasticine moulded into the bento box and it sunk perfectly, which was ideal for an environment like the Barrages where there's a continuous flow of water. However, it was unfortunately partial to leaking and this trip to Goolwa was Bob's last excursion before being retired. * You can hear a slight twinge of electrical hum at the beginning of this recording as a result of the leak.

However, this hydrophone had an excellent response to underwater environments and this is especially evident on this short recording of the Barrages flow. Aside from the constant flow of water occupying the mid range, there's a striking low-end rumble which I suspect is a combination of the river's current combined with the booming resonance of the Barrages.

FKISM: Goolwa Barrages current flow (underwater recording with home made hydrophones)- August 2012

A FLEURIEU SOUND MAP SITE. www.tristanlouthrobins.com/fleurieu_soundmap/

Further details regarding this site can be found via this link: www.tristanlouthrobins.com/fleurieu_soundmap/sites/CPJ001.html

I'm outside the Cape Jervis ferry terminal on an overcast morning in mid-October. In the distance, the ferry from Penneshaw can be heard approaching. A couple of honks sound out as the vessel slowly pulls into the dock. The relative ambience of the terminal is overwhelmed by the ferry’s initial approach, followed by the continuous drone of its engines as it waits for the dock to be cleared. Platforms, gates and latches are manoeuvred before the ferry pulls into the dock and is secured. Eventually, cars drive off the ferry and passengers make their way along the landing.

FKISM: Cape Jervis Ferry Terminal - October 2019

A FLEURIEU & KI SOUND MAP SITE. www.tristanlouthrobins.com/fleurieu_soundmap/

http://www.tristanlouthrobins.com/fleurieu_soundmap/sites/CKA001-dunesandfinch.html

In the dimming light of a cold afternoon, the recorder is set up at the entrance of a walking path which leads through the dunes to the southern end of Carrickalinga Beach. From this position, the muted pulse and roar of the ocean can be heard, whilst a small finch sounds in the distance.

FKISM: Carrickalinga Beach dunes - May 2015

A FLEURIEU & KI SOUND MAP SITE. www.tristanlouthrobins.com/fleurieu_soundmap/

Further details regarding this site can be found via this link: http://www.tristanlouthrobins.com/fleurieu_soundmap/sites/CKA002-creek.html

A still afternoon on the banks of Carrickalinga Creek. In distance, the afternoon songs of birds and the discreet stir of the ocean and distant traffic from the main road.

FKISM: Carrickalinga Creek, Carrickalinga - May 2015

A FLEURIEU & KI SOUND MAP SITE. www.tristanlouthrobins.com/fleurieu_soundmap/

Further details regarding this site can be found via this link:
http://www.tristanlouthrobins.com/fleurieu_soundmap/sites/MUL001-creek_at_midnight.html

This recording was made just after midnight on a footbridge that joins the properties of Mulberry Farm and Middle Farm.

Fleurieu Sound Map Recordings

FKISM: Carrickalinga Creek at night, Mulberry Farm - September 2014

A FLEURIEU & KI SOUND MAP SITE. www.tristanlouthrobins.com/fleurieu_soundmap/

Further details regarding this site can be found via this link:
www.tristanlouthrobins.com/fleurieu_soundmap/sites/CPJ002.html

Fishery Beach is located about 5km to the south east of the Cape Jervis township. The beach was the former site of the Cape Jervis Whale Fishery, which only operated for a few years (c. 1843-1851) and the extant ruins of the whaling station can be located here. The site now is popular with local fishermen and a power station supplies a relay for the huge underwater cable which supplies Kangaroo Island with its primary power supply.

Speaking of Kangaroo Island, the eastern section of Dudley Peninsula and the remote southern coastline could be observed clearly. Bands of rain could be seen sweeping across the island and tentatively moving out over the rough, volatile waters of Backstairs Passage.

I’d parked the car by the power station and made my way down to the a position overlooking the beach. Waves appeared to be concentrated on three particular areas within my vicinity: to a shallow bay ahead of me, a rocky outcrop to the left, and a narrow head of boulders to the right. To the left I saw about half a dozen cormorants positioned on the rocks.  

I thought I would make a couple of recordings here in different positions relative to the water’s edge, so as to emphasise the encompassing presence of the waves.    

The audio here is presented here as a composite of two sites in close proximity to each other. It begins with a recording close to the central bay and then transitions to a recording made at a higher position further back. The first six minutes features the recording made closer to the water’s edge, and this recording emphasises a spatial drift of waves forming and crashing around the bay area. The rough sibilance of the surf - apprehended as dense blocks of noise - appear to whoosh and phase into each other, appearing at times to recede into the distance. At the six-minute mark, the audio crossfades gently into the recording made further back. This recording presents a vaguer, somewhat calmer, and altogether more homogenous impression of oceanic textures. The wave activity appearing to continuously blend across the stereo field, accompanied by vaporous murmurs, hushed roars and tumult.

FKISM: Fishery Beach, Cape Jervis - August 2020

Tristan Louth-Robins is a South Australian artist working principally in the medium of sound art and field recording. Ideas of sound and its signification are key elements in Louth-Robins' practice, traversing the space between the visual and aural his work is realised through the mediums of recordings, installation, visual art and performance. He is interested in sound and its associative implications - including its relationship to objects, technology, urban space, memory and the natural world. 


Since 2005, Louth-Robins has presented work in Australia and internationally as a solo artist, whilst also collaborating with artists, writers, researchers, musicians and performers. 

Working across a vast array of activities encompassing composition, sound design, installation art, field recording and workshops, his work has been featured in events such as the Adelaide Festival of Arts (2006), The National Regional Arts Festival (2012), Mildura-Wentworth Arts Festival (2013), Fairfax Festival (2013) and Adelaide Fringe Festival (2014); and selected works exhibited at galleries including The Australian Experimental Art Foundation (2009), SASA Gallery (2012, 2015), Light Square Gallery (2012) and FELT Space (2015). His audio works have been broadcast on radio including Radio National, Classic FM, The BBC (UK), Acoustic Frontiers (USA) and RBB (Germany).

FKISM: Goolwa Barrages current flow (underwater recording with home made hydrophones)- August 2012

Tristan Louth-Robins

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