lost cecil taylor, anthony braxton, and dave holland session

[sound.out.light]

actually not really...i thought it'd be a cool experiment to superimpose elements of emerald tears, for alto, and silent tongues (all three being solo recordings) and see what happened...it's actually pretty interesting at points. id be willing to post a link online if anyone else would like to hear..im still working on finding sections to put together...

i also wanted to know if anyone else ever tried anything similar or would like to share their results???

it's kind of tacky i know but its fun nonetheless.

[skrobek]

how about some reductionist mash-ups ?

Taku Sugimoto vs Taku Unami bootlegs !

[sound.out.light]

would it be a good idea to get some more people involved and make an .mp3 comp of the stuff??

[jon abbey]

It really boils down to the question of chance collages of sounds, which I think many composers in the concrète field use as a compositional tool. The question is how much chances do you take, and do you edit the result or leave it as it is ?

Radu Malfatti - Three Backgrounds (B-Boim)

works just like that. I think the pieces were recorded seperately and then put together. At least that would explain the amount of ambient noise + all that coughing

Also Michel Henritzi's Keith Rowe Serves Imperialism (w.m.o./r) works that way (with improvisations instead of compositions though)

Oh and MIMEO of course...

I don't think any of those quite qualify as "chance collisions of sounds", as I believe that all of them were planned that way, meaning the individual parts were made with the idea of layering them. the original post is talking about layering unrelated solo records, that's much more of a chance collision of sounds approach in my book.

I have an innate bias against this independent layering method of composition, but Ami Yoshida and Toshi Nakamura just sent me a great 47 minute piece made like this, which may end up as part or all of their in-the-works Erst release, we'll see.

[skrobek]

It really boils down to the question of chance collages of sounds, which I think many composers in the concrète field use as a compositional tool. The question is how much chances do you take, and do you edit the result or leave it as it is ?

Radu Malfatti - Three Backgrounds (B-Boim)

works just like that. I think the pieces were recorded seperately and then put together. At least that would explain the amount of ambient noise + all that coughing

Also Michel Henritzi's Keith Rowe Serves Imperialism (w.m.o./r) works that way (with improvisations instead of compositions though)

Oh and MIMEO of course...

I don't think any of those quite qualify as "chance collisions of sounds", as I believe that all of them were planned that way, meaning the individual parts were made with the idea of layering them. the original post is talking about layering unrelated solo records, that's much more of a chance collision of sounds approach in my book.

Yeah I realized that it could be taken that way so I deleted that part... but you're quick Jon, you're quick... In my mind the "chance" element was about not knowing where the harmonic or rythmic magic might operate (if at all), but agreed it's not what the original poster had in mind...

more like putting a hip-hop accapela on One Day

[sound.out.light]

In my mind the "chance" element was about not knowing where the harmonic or rythmic magic might operate (if at all)

there are definitely some very lively moments where things interlock...i didn't really manipulate any of the individual albums aside from dropping and adding sections of each performers pieces in specific sections where dynamics did or didn't quite match right...but the real magic happens when all three are really intensifying then they all sort of fizzle out together. made my hair stand up!

[gerf wachoob]

i did this thing where i mixed pieces of yoko ono's "fly" with pieces of screaming jay hawkins "i put a spell on you" and a bunch of small parts from various other peoples music. it's fun to do, but i'd probably never use it for anything. and it's cool hearing yoko sing with screaming jay hawkins.

[sound.out.light]

a clip of results:
http://www.sendspace.com/file/mtgak4

[J.F.]

I posted this earlier somewhere... I don't know in which context.
Here http://de.myspace.com/misuse23 you can find in track #3 the Dresden Dolls performing "In the Port of Amsterdam" combined with a solo track I recorded years ago (I figured the latter in itself sounds a little like collage-stuff maybe, but it's played in realtime).
Maybe that's only because I listened to this combination several times, but I find there's some moments where the two very different layers kinda correspond.

I just also listened to track 4 which I still find sort of funny, though that's more a sample+copy+paste approach - forcing Led Zep, Egg, Etron Fou Leloublan and Misha Mengelberg together


I combined all sorts of Cage recordings into a John Cage Music Circus once. Though the resulting track was longer than 1 hour and I believe I eventually never listened through that (I remember I didn't like how the clearly varying sound-characteristics of the used recordings didn't fit together).
Also... an assemblage of all "Music for #"-recordings I could find in my collection - that resulted in "Music for 27".
And also Schleiermacher's "Music for Piano"-set ended piled-up into something like a version for 36 pianos.

[gohleekwang]

And also Schleiermacher's "Music for Piano"-set ended piled-up into something like a version for 36 pianos.

hey i did the same with the first 3 of the series (6 cds) too

and feldman / tilbury's all piano