RT60, SR Crown Hall (IIT) added

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I am delighted and honored to announce that the SR Crown Hall Building of the Illinois Institute of Technology (IIT) in Chicago Illinois USA, a pinnacle architectural work by Ludwig Mies van der Rohe, has been added to the RT60 project and its archive and research and development processes, bringing the archive to over 15 hours in unedited impulse response and other sound samples. In the spring of 2016, I visited the Graham Foundation in Chicago and through their support and assistance, was granted the opportunity to access this building and sample it. The building is one of the finest examples of the work of Mies van der Rohe and his principles, and is considered by many including himself as one of his finest architectural achievements. To have a day in this space was yet another of one of the most pleasurable, thrilling, and memorable days of my life and of this project. It is with great pleasure and honor that this jewel of modernist architecture is added to the cadre of very special landmark twentieth-century modernist structures of the RT60 project, and that which represents internationally significant Modernist Architecture of the United States via Bauhaus origin through a continuation of its core values and principles, and the career of one of its most important luminaries. Special thanks to the Graham Foundation for Advanced Studies in the Fine Arts, James Pike, IIT College of Architecture, Illinois Institute Of Technology, and Peter Land, for their hospitality and assistance.

Ghosts and Apparitions

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Recent mantra series (ghosts and apparitions), an audio recording by Alan B. Richmond was created on Halloween of 2010 with guitar and effect / loop pedals in a painting studio of the Städelschule which was days thereafter closed and renovated. The video image was created a few weeks later during demolition. This recorded performance was the last sound of its kind to inhabit the space before closure, demolition, and reconstruction of new walls, windows, ceiling, doors, and other structural attributes which completely transformed the space, and thus is a sonic documentation of the architectural and structural history of the former studio and its formal characteristics. This was also the first sound recording series I made after arriving to Frankfurt am Main Germany in mid October 2010 to study at the Städelschule. A full release of the recordings will be released in the months to come through audioeins.

Alan B. Richmond, Copyright 2010/2016, All Rights Reserved.

White Noise and Wah Wah

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Today’s Mantra series at Instagram, white noise and wah wah, is a recording of stationary room ambience with peripheral room conversation, stacked, multiplied, time shifted, and compounded, to form a bed of saturated white noise and faint abstracted flanging filtering formants of vocalization. The process is in small ways similar to the noteworthy work ‘I’m sitting in a room’ by Alvin Lucier, in that it is a result of accumulated resonances, formants, and frequency responses, only different in that the audio tracks are deliberately misaligned to thus instigate mechanical sonic filtering and phasing as opposed to only that of repeated identical stacking, and the recordings are not reintroduced back into the space for multiplication and stacking, but rather simply one track itself is multiplied and stacked.

Alan B. Richmond / www.audioeins.com
Copyright 2016. All Rights Reserved.

Mantra Series / Distortion Studies

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With a recent mantra post at Instagram, a jazz theme for a piece called ‘Sledgehammer Jazz and Peppermint Candy’, which explores the musicality of my youth and early teenage years when exposed to artists like the Jazz Crusaders (The Crusaders), George Benson, and Earl Klugh, and a kind of synthesis or amalgam of such influences, combined with blues pentatonic scales and my affinity with bands such as sonic youth, swans, my bloody valentine, and the like that have for years influenced and informed my work and in collaborations, I have reached a definitive mark within a daily mantra trypdic series where I have been exploring the articulated effects that distortion has on dense composition. I have discovered that depending on the degree of distortion and how it clips waveforms, various nuances are either pronounced or lost, thus allowing for even further compositional elements through playing and effect. Sometimes harmonics which are absent in quieter or cleaner passages allow for hearing more low mid and low fundamental notes and melodies, while with increased distortion the lower frequencies break up and become fragmentized, and the higher frequencies take on enough harmonics to then appear over a droning distorted fragmented bed of base composition. For the past several weeks/months I have been posting to Instagram these trypdics of short excerpts of looping compositions in the form of daily mantras, demonstrating this phenomena, while simultaneously recording those works into longer multi minute tracks in pro tools in the computer for longer compositional development and loop series material, with greater variation of effect. The findings have been quite enlightening to me, and have informed both my playing style, sound design premise, use of effect, and compositional approach. The changes can be and often are drastic, often transforming the loop into entirely different notation and compositional constructs, especially dependent on the amount and types of distortion. In this series exploration and posted to Instagram, I am using at least three drive stage types, and for the recordings I utilize up to 20 variations, which when combined with amount creates an extensive array of results.

Alan B. Richmond / www.audioeins.com
Copyright 2016. All Rights Reserved.

Today’s Mantra (isolated showers)

imageToday’s mantra (isolated showers) 6/19/2016, is a track composed of three brief offset recordings (for modulation, pitch shifting, and other compositional purposes) of the sound of the shower operating through the wall of the neighboring room. It is such sounds and environments that inform and influence the soundscapes I often hear in the natural drones encountered in daily life, and reproduce with guitar and synthesis effects. These sounds often echo on in the subconscious mind until reemergence at any given later time, when consciously joined with other compositional elements of emotional, physical, or formal significance.

www.instagram.com/audioeins_/

Alan B. Richmond / www.audioeins.com
Copyright 2016. All Rights Reserved.

Sound on Sound

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Sound on Sound is an experimental ambient drone noise composition / video exploring and celebrating the meditative tones and timbres of a ferry boat navigating the Puget Sound between Seattle and Bainbridge Island Washington, one of the most beautiful routes in the world. The audio composition, edited to filmed track source, consists of 3 tracks recorded from the automobile deck, blended, overlapped, and juxtaposed in time in order to accentuate the inherent sonics and beauty of the boats operation and materials, its unique reverberation, and to construct an original work with complex harmonics, modulation, and dynamics. Only volume level and track placement serve as compositional means, with only minor track edits. The sonic characteristics not only consist of complex varying and cascading tones drenched in natural sustain and dense reverberation, but also within the work, apparitions of classical instruments such as bowed instruments and oboes can be faintly heard before dissipating into the dark saline night.

The world is a symphony, all one need do is listen.

Alan B. Richmond / www.audioeins.com
Copyright 2016. All Rights Reserved.

propagation

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‘Propagation’ by Alan B. Richmond is an experimental improvisational ambient drone noise concert developed to premiere in celebration of the 121st Sequim Irrigation Festival 2016. Inspired by early sound pioneers, Futurist ideals and aesthetics such as The Art Of Noises manifesto and Intonarumori instruments of Luigi Russolo, and novelty music boxes of the Victorian Era, this work is an exploration of mechanical and electronic sound looping with emphasis on modulating tones, complex complimentary and contrasting harmonics, nuanced resonances, and textured reverberation, centered around a sculptural chambered music box instrument with original composition, electric guitar with bows, effects, and loop pedals, and field recordings including local irrigation canals and agricultural machinery.

‘Propagation’ will premiere at the Sequim Civic Center on Friday May 6, 2016 at 6pm as part of the Sequim First Friday Artwalk of Irrigation Festival Weekend. Concert is free to the public.

Copyright 2016 Alan B. Richmond. All Rights Reserved.

Modulating Tide

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Modulating Tide (2/20/2016) at audioeins YouTube

Published on Feb 22, 2016, Modulating Tide (2/20/2016), by Alan B. Richmond, is a video focused on the sounds of the seashore, and their complex characteristics as oscillating fundamental drones, harmonics, and noise and modulation sources. These sounds together with an edited improvised electric guitar track, recorded minutes prior to visiting the beach to document and record its tidal state, construct a composition effected by track frequency variation. All Rights Reserved, Copyright 2016.

A central focus within this investigation is the documented cause of sound (video of the shoreline) as a unified visual medium of sound itself, and treated as unseperated instrumentation or compositional material, with oscillator drones, frequency and amplitude modulation, noise, harmonics, counterpoint, and other attributes, striving to closer bridge visual and audio, and the materiality of light and sound. This is particularly important in relevance to my previous and ongoing explorations and inquiries of the similarities of painting and other visual practices and sound based / musical practices. By incorporating improvised electric guitar into the composition, I am further exploring the facets of musical or sonic improvisation, and the relevant states or conditions, in this case with particular attention to physiology, physics, and cosmology.

instagram

new instagram diary at instagram.com/audioeins_, covering studio and project practices which include ‘RT60: The Authenticity Of Space Through Sound’, ‘Trace’ loops series, and other works in progress, as well as the occasional scenic photo.

sustenance

sustenance
by Alan B. Richmond
all rights reserved © 2015

‘sustenance’ by Alan B. Richmond is an investigational abstract symphony of a family meal. Two contact microphones placed on opposite ends of a glass table provide the stereo field for this recorded work, capturing the intricate orchestral tones, unique percussion, and irregular meters of flatware, utensils, beverages, serving dishes, meal contents, and conversation. These tones are accentuated through careful and extensive use of delay, reverb, and other effects, thus sustaining their clear and complex characteristics and constructing chords and drones of rich harmonies, modulations, and other such compositional elements. These elements are further abstracted and processed through sample waveform editing and suspension, granular synthesis, frequency modulation, side chain gating, and filter envelopes, which allow for fundamental frequencies and harmonics articulation and emphasis. This 23 minute work is comprised of three movements, beginning at 0:00, 4:00, and 19:40.

This work is released in participation of an exhibition, FOOD the exhibit, to benefit the Sequim Food Bank. To celebrate the exhibition opening and this new release, this track will be available for free download (soundcloud.com/audioeins) with request and appreciation for donations of any amount to be given directly to the Sequim Food Bank through their website, sequimfoodbank.org/giving/give-money. Thank You.