Dedicated to Jesse Stiles.
Dedicated to Jesse Stiles.
By Kyoko Inagawa, Kabir Mantha, Breeanna Ebert
Our original idea was to create a collage of vocal majors and transform the piece to sound like white noise as time went on. But eventually, we saw the prop door in the lab, and used that as inspiration for our project.
We all decided to attend recitals, and we recorded 2 vocal recitals and a violin recital. From this, I extracted some samples that I felt could be looped continuously throughout the piece. Each sample lasted anywhere from 1 to 30 seconds.
I used Audacity to cut and combine the different samples I found. I used extracts from both recitals, and played around with Paulstretching, reverse, reverb, pitch and time changes, etc. I used reverse with some of the sound to create some phasing with the wave frequencies. I made sure some of the samples I found would work well looping with itself without creating clippings or sudden volume changes.
This required frequently zooming into the loops and messing with the sound at a small scale. I drew some parts of the sounds in to get rid of clipping noises, and any noises caused by wind or hitting the microphone. I also had to make sure if there were any sudden noises or clippings I wanted to include that I lined them up accurately with a small margin of error in milliseconds. When I reached the peak of the piece, I had to make sure the peak transitioned into the last sound well enough that it didn’t end too suddenly, and the first sound of the piece didn’t seem out of place. I was then able to loop the entire piece.
We had then decided to change our concept, and focus on doors and environment changes. We then went out and recorded door sounds and changes in sound going through a door. We then went through the door recordings and decided we wanted to go from loud door sounds, to more of a focus on environment changes, and end with a sudden door slam.
I didn’t edit any of the door sounds, but instead incorporated the original piece to emphasize the environment changes. As soon as a new door sound was played, the piece had a new effect added to it.
I made splits to ensure I made the change as soon as the peak of the door sound played. It’s noticeable on this picture that the piece changed. The volume also was effected. The soundtrack starts off with a door sound to catch the listener off guard. The piece sounds closer to the original after each door sound to give the impression that we’re approaching a more open environment. There are a couple instances in the piece where we backtrack slightly and end up in a more confined place. For example, one of the door sounds moves the listener from their environment to a bathroom, then back outside.
This shows the transition to the bathroom. I applied a high pass filter to the soundtrack, giving it a constrained feeling. The piece then goes on unedited until we reach the final door sound, trying to catch the listener off guard again.