Revisiting My Soundscape 5

Having listened to the new drafts I have made, there are two that stand out to me:

and

https://soundcloud.com/milly-field-recordings/soundscape-revisit-3-seventh-draft

I like the gradual change in the fifth draft to making the traffic noise more intense, and I realised that I could try a different way of putting the soundscape together so that it would seem to gradually change, ending on the more intense, artificially manipulated sound. If I structure the soundscape so that rather than walking from the footpath (‘the track’) to the A27, I could structure it the other way round. This will be my next trial.

Soundscape (Sixth Draft)

In this version of the soundscape, I’ve re-worked it to include less of the traffic noise, cutting about 1 minute and 45 seconds off the length. Personally, as I suggested in my post about this idea, I don’t think this is a good idea. It was not a very satisfying way of solving the problem and I don’t think the issue was so bad that it needed completely removing from the track. This will not be my final piece.

Revisiting My Soundscape 4

My third idea is to shorten the first half significantly, allowing it to go on just long enough that it is interesting but not so long that the listener starts to wonder where it is going. This would allow me to keep my original idea in tact. This is my least favourite option, not just because it would involve cutting short my track even further (I shortened it twice – one draft was not published and was over 20 minutes long, the second was 13 minutes long and I finally cut it down to the length it is currently at) but to me, it lacks creativity. While sometimes less is more, I am interpreting the feedback to mean that more should be added to make the weaker sections better, rather than just taking away what isn’t currently working. Nonetheless, I am going to try this idea anyway just to compare it with the others.

Revisiting My Soundscape 3

“The first half in particular suffers from homogeneity, partly because other textures are subsumed into traffic. It will be worth revising the first half, by making more recordings, and/or using some artificial construction to draw attention to peripheral sounds.”

Jeevan also noted that while the generative rhythms of the traffic are interesting, they go on too long. I noticed that myself listening again to my soundscape last week. My second idea is to incorporate more recordings, in particular bring in more ‘hi fi’, nature sounds, such as birds into the first half.

Revisiting My Soundscape 2

“Your underestimation of how loud traffic noise would be has actually led to an interesting aspect of the resultant piece: the dynamic perceptual relationship between it and other sounds. Whether you intended it or not, the generative nature of the ‘rhythm’ of the traffic is also quite satisfying.”

One of the things that Jeevan picked up on was the traffic noise actually creating its own rhythm. I think that this is an interesting place to start. Over the last few weeks, I have been considering what to do to make this more prominent and I came up with an idea of somehow artificially manipulating the traffic over the first half of my soundscape to make these generative rhythms more prominent, before returning to the second half of the soundscape which I would keep as it was.

Soundscape (Final Draft 8th-9th November)

This is my final soundscape. I’ve uploaded it to my main CMC page here (Edit 7th Jan – as this is now simply a draft, I have re-uploaded this version of the soundscape and it can be heard here):

It is mostly similar to the soundscape I created in draft 2. I got rid of some sounds I didn’t like, including a couple of points where the wind noise was very loud and a few points where my handling of the mic was a little too obvious. A few ‘human’ sounds (people walking etc) have also been added.

I am quite pleased with how it’s turned out, despite the fact that it is quite different from my own vision. Actually going to Paradise Lane and starting to record there made me aware of just how noisy the traffic is, but this was further proved to me when I listened back to my recordings and found the traffic sound had penetrated everywhere I tried to record. This has led to a reasonably significant direction change, with the traffic noise playing a much more prominent role that I had originally planned for it. I think it’s difficult to hear a lot of what is going on and you really have to concentrate when listening to the soundscape to find the hi-fi sounds in it.

I have kept in mind the ‘listening body’ and have made sure a range of frequencies are accentuated at various points (like the bass while trains and cars go past). Mainly, I just made small changes to the mix in the edit room as I had done all previous mixes on headphones.

As I pointed out before, the ironic title ‘Paradise Lane’ is supposed to be thought-provoking: this place, is given the name ‘Paradise’, but is it really sonically paradise?

This piece is constructed as a sound walk down Paradise Lane. These are some things to listen out for:
00.00 – The A27, very close, some birds can be heard further away

00.24 – A train goes past in the distance

00.57 – Birds can be heard in the tree on the track

01.08 – Someone walks past

01.48 – A train goes past, this time closer, there are lots of trees and birds and a squirrel can be heard in them

03.04 – On the bridge as a train goes under it

04.12 – Heading towards the green, can hear birds

04.32 – A lady’s walking stick hitts the ground as she walks past

04.51 – A car passes the green

06.11 – The A27 can be heard in the distance, but also closer, at the bottom of Paradise Lane

06.28 – A train goes past, further away now

06.50 – Someone walks past

08.08 – Sirens in the distance

08.26 – A car drives up Paradise Lane

Soundscape (Third Draft) (7th-8th November)

I have been working on a different draft of my soundscape:

The main difference is that I have added in my footsteps to create a more phonographic soundscape. There is more evidence of mic handling in this one than previously and it places me in the soundscape. I wasn’t sure about this idea, but I thought I would try it out as I have fostered an interest in soundwalking. I think it detracts from the layering I have done in my other drafts and I also think it makes it harder to hear some of the more intricate sounds in my soundscape (which are hard enough to hear over the constant roar of traffic!).

I don’t really like this draft, but I thought that since I had made the recordings and have become quite interested in soundwalks, I would try it out. I don’t feel that it has been a waste of time because I have learnt something – I don’t want to include my own footsteps in the piece.

I think the final draft will be a slight rework/remix of my second draft. It will still be a soundwalk but my presence in it will not be as defined as in this draft – I like the way it slowly transitions (the traffic gradually gets quitter, the trains get louder, more individual cars are heard and less nature sounds are heard as the walk progresses from the top of Paradise Lane to the bottom of it).

Soundscape (Second Draft) (5th – 6th November)

Yesterday and this morning I have worked on producing a second draft of my soundscape:

The immediate difference is that it is significantly shorter. I felt that the length of the first draft was too long and basically, for much of it is ended up being sparse and not very interesting. I didn’t want to limit myself time-wise, but when I actually started listening to what I had put down in Logic, I realised that it was going to be much better to speed up the movement of the piece, and now there’s less time where not much is happening. Interestingly, I usually find the opposite when I’m composing music, so I think I’ve learned a valuable lesson in that I’m not going to worry so much about the length of a piece and just let my ideas develop – I can always come back to a piece and cut it back later if it’s too long, but it’s more difficult to come back to a piece weeks or months later and try to composer more material for it.

I have also made some sounds more prominent and added more processing such as compression and the Adaptive Limiter to help prevent clipping. I have also considered how to address the ‘sound body’. I have added EQ boosts at the low end on the car and train sounds and although it’s not terribly clear on my headphones, I hope once I listen to it through monitors, I’ll really be able to feel the rumbling bass sound.

As I mentioned in my first draft, a lot of the sounds are difficult to hear on the original recordings due to the level of the traffic noise. I know I rejected the idea of hi-fi and lo-fi soundscapes in an earlier post, but I’m starting to think maybe there’s some truth in it. Having actually gone back to Fareham and listened to just how loud and over-bearing the traffic noise is, particularly then when I got my recordings and listened back to them, I think it’s actually quite shocking just how loud the traffic noise is and how much it is drowning out. I’d love to stop the traffic and make recordings in the same place just to hear what the natural environment really sounds like!

Soundscape (First Draft) (3rd – 4th November)

Yesterday and today I worked on my soundscape. This is my initial draft: I think it picks up towards the end, and I need to do more to make it interesting at the beginning. The concept, at the moment is essentially a soundwalk down Paradise Lane, starting at the top of the field (next to the M27/A27) and walking all the way down to where it meets Cams Hill/A27. I have not included my own footsteps, but I think tomorrow I will try a draft with them included. One of the things I have struggled with is the amount of traffic noise on my recordings, particularly of birds. I have used Logic X’s Channel EQ to get rid of the low frequency noise and boosted the frequencies at which the birds are singing to try and get rid of this. I think with a bit more precision, the sounds could be better, so I’m going to give that a go tomorrow.

Field Recordings (29th October)

On Wednesday evening, I walked up to The Mount in Guildford and made some recordings as the sun went down. My windjammer had arrived so despite the fact that it had been raining and was windy, I wanted to get some recordings. I only stayed for an hour or so because I got quite cold, but I found it quite a relaxing experience (until I came back down into the town again!). I have been busy with my other coursework so I haven’t had a chance to listen to them until yesterday and today. Here are some excerpts:

Rain on The Mount

This was taken by putting a microphone under a tree to record the rain as it dropped down on the leaves.

Guildford From Above

This is the most interesting field recording I made at The Mount. I pointed the mic towards Guildford and turned the gain up. Although there is quite a lot of noise, you can hear the town below and even a couple of airplanes overhear (the stereo mic has picked it up really well). There is a building site which is where the metallic sound are from and you can also pick out sounds from the train station as well as individual cars and faint voices.

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