Before the work in progress class, I made sure to listen through and sort my field recordings. I layed out all the clips into one track on reaper with the accompaning ambient recording underneath if it had one. I looked out for particularly interesting sounding sections and marked them. I also went and cut unnecissary or irregular bits from the clips also converting some to a mono mix if the stereo was uneven like one side cutting out. With the markers I also numbered them from ones I most want to use to least. I then copied the ordered clips to a new project and bounced it for easy playback in class.
I was very happy with my feedback in class and was pointed to David Behrman for inspiration by Miles. The experimental piece, ‘Wave Train’ is written for piano resonance and feedback. Some of the effects produced are strikingly similar to what the ether achieves including beating sections and sudden raucous flares which I found fascinating. The radical piece from 1966 was supposedly when he threw away established techniques to create this drone tapestry. Microphones are placed on top of the piano strings, the mics gains are raised creating feeback thus resonating the strings. The performer creates these cacophanous waves by working with the feedback by adjusting the mic volumes. The slower pace and grander effects of this piece has encouraged me to let the soma play out more and perhaps try to mimick these sounds by exaggerating what I already have through panning and volume automation.