next WASH SOUND ALBUM

files deconstructing them. Gaps of silence which are filled by short digital sounds. Micro rhythms and glitch sounds. Cradle sounds, vinyl hiss recorded on tapes are in the background for a combination of electronic and acoustic sounds, electric and acoustic guitars and keyboards. Field recordings, analog devices and digital processing. Envelopes "stretched" beyond all limits, circular sounds fascinatingly unfolded among cracks, feedbacks, loops and rhythmic digital beats. Multiple free software and field recordings, experimenting with combinations of static noises, hums, microsounds and mildly noisy techniques.

1 ALBUM

files deconstructing them. Gaps of silence which are filled by short digital sounds. Micro rhythms and glitch sounds. Cradle sounds, vinyl hiss recorded on tapes are in the background for a combination of electronic and acoustic sounds, electric and acoustic guitars and keyboards. Field recordings, analog devices and digital processing. Envelopes "stretched" beyond all limits, circular sounds fascinatingly unfolded among cracks, feedbacks, loops and rhythmic digital beats. Multiple free software and field recordings, experimenting with combinations of static noises, hums, microsounds and mildly noisy techniques.

CONVEXX ALBUM

files deconstructing them. Gaps of silence which are filled by short digital sounds. Micro rhythms and glitch sounds. Cradle sounds, vinyl hiss recorded on tapes are in the background for a combination of electronic and acoustic sounds, electric and acoustic guitars and keyboards. Field recordings, analog devices and digital processing. Envelopes "stretched" beyond all limits, circular sounds fascinatingly unfolded among cracks, feedbacks, loops and rhythmic digital beats. Multiple free software and field recordings, experimenting with combinations of static noises, hums, microsounds and mildly noisy techniques.

ENCHUFES ALBUM

files deconstructing them. Gaps of silence which are filled by short digital sounds. Micro rhythms and glitch sounds. Cradle sounds, vinyl hiss recorded on tapes are in the background for a combination of electronic and acoustic sounds, electric and acoustic guitars and keyboards. Field recordings, analog devices and digital processing. Envelopes "stretched" beyond all limits, circular sounds fascinatingly unfolded among cracks, feedbacks, loops and rhythmic digital beats. Multiple free software and field recordings, experimenting with combinations of static noises, hums, microsounds and mildly noisy techniques.

FREEZER ALBUM

files deconstructing them. Gaps of silence which are filled by short digital sounds. Micro rhythms and glitch sounds. Cradle sounds, vinyl hiss recorded on tapes are in the background for a combination of electronic and acoustic sounds, electric and acoustic guitars and keyboards. Field recordings, analog devices and digital processing. Envelopes "stretched" beyond all limits, circular sounds fascinatingly unfolded among cracks, feedbacks, loops and rhythmic digital beats. Multiple free software and field recordings, experimenting with combinations of static noises, hums, microsounds and mildly noisy techniques.

OZONO ALBUM

files deconstructing them. Gaps of silence which are filled by short digital sounds. Micro rhythms and glitch sounds. Cradle sounds, vinyl hiss recorded on tapes are in the background for a combination of electronic and acoustic sounds, electric and acoustic guitars and keyboards. Field recordings, analog devices and digital processing. Envelopes "stretched" beyond all limits, circular sounds fascinatingly unfolded among cracks, feedbacks, loops and rhythmic digital beats. Multiple free software and field recordings, experimenting with combinations of static noises, hums, microsounds and mildly noisy techniques.

REDER ALBUM

files deconstructing them. Gaps of silence which are filled by short digital sounds. Micro rhythms and glitch sounds. Cradle sounds, vinyl hiss recorded on tapes are in the background for a combination of electronic and acoustic sounds, electric and acoustic guitars and keyboards. Field recordings, analog devices and digital processing. Envelopes "stretched" beyond all limits, circular sounds fascinatingly unfolded among cracks, feedbacks, loops and rhythmic digital beats. Multiple free software and field recordings, experimenting with combinations of static noises, hums, microsounds and mildly noisy techniques.

PRODUCTIONS


new music ! ....enjoy some tracks preview 
www.microfuse.bandcamp.com 

I have always been interested on the faculty of sound to suggest spaces and places and for this piece in particular I wanted to use primarily field recordings as the main source to give to this work a more environmental character.


Field recording often involves the capture of ambient noises that are low level and complex, in response the requirement from the field recordist has often pushed the technical limits of recording equipment, that is, demanding low noise and extended frequency response in a portable, battery powered unit. For this reason field recordists have favoured high quality, usually professional, recorders, microphones and microphone pre-amplifiers. The history of the equipment used in this area closely tracks the development of professional portable audio recording technology. Field recording experienced a rapid increase in popularity during the early 1960s with the introduction of high quality portable recording equipment (such the Uher and Nagra portable reel-to-reel decks). The arrival of the DAT (Digital Audio Tape) in the 1980s introduced a new level of audio recording fidelity with extended frequency response and low self noise. Amongst these technologies, other popular means for field recording have included the analog cassette (CAC), the DCC (Digital Compact Cassette), and the MiniDisc. The latest generation of recorders in use are completely digital (hard disk/Flash) based. In addition, many are using a Smartphone such as the Apple iPhone 4, along with software such as Hindenburg Field Recorder app to do high quality field recording and editing. Techniques have developed to include creative placement of microphones (including contact microphones & hydrophones for example), diffusion of captured sounds and highly individual approaches from recordists.
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