An Alan Lomax of Lost Technology (MP3)

The term “field recording” has two particular meanings in regard to audio. There are the so-termed phonographers who toil in the physical world, documenting soundscapes and incidents. And there are those of the Alan Lomax variety (Lomax being the legendary documentarian of blues, folk, and gospel), who record indigenous music for posterity. These two ventures can be seen as quite different from each other, as archivists in the worlds of sound (the phonographers) and of music (let’s call them the Lomaxes). And the distinctions can lead to annoying confusions and consequences, when that box set you ordered arrives and it turns out that “field recordings of the high desert” include not rattling sagebrush and coyote calls but old-time religion and cowboy poetry. But they have some things in common as well, things far more important than their differences, foremost the precious nature of sound. For both the phonographer and the Lomax are capturing something soon to be gone. Both are invested in preserving a record — in the broader sense of the term “record” — of sonic reality.

Richard Devine recently posted a host of recordings of ancient and becoming-ancient devices. Titled “The Sound of Data Transmissions-Electromagnetic Fields” it contains the sounds of (as he lists them) “printers, scanners, Nintendo Wii, PlayStation, Mac-book hard drives, 5 different wireless modems, fax machines, iPhone, iPad, and computers.” If you follow along the waveform of the recording, he has annotated when each new sound initiates:

To compare the sound of a modem to the song of an impoverished blues musician is not to elevate the former or denigrate the latter. It is simply to note that in the latter case, the documentarian was of use because for a variety of reasons the commercial recording industry had found no use for the blues musician. His song went underheard. And the phonographer is dedicated to the underheard, to the sounds that exist around us but are taken for granted.

Track originally posted at soundcloud.com/richarddevine, which is where the above photo was sourced from. More on Devine at richard-devine.com.

Past Week at Twitter.com/Disquiet

  • Apologies for limited Disquiet.com coverage this week. Spent much of it battling a fever. #noiseparent #
  • Judging by the microphone distortion, there is either a sports event or a political rally occurring at the nearby high school. #
  • "Director of Previsualization": movie credit of the evening #
  • #occupyclassical RT @operafella: Nilsson award to Muti? Another who doesn't need $1,000,000. A reward for being successful and rich? Dumb. #
  • Between jazz fan played by Danes in Homeland & temperament of Caviezel in Person of Interest it's a very Eastwood season of TV #
  • Many sirens in the Richmond District. Anyone know what is up? #415 #
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45 Seconds of Unaugmented Reality

Sometimes the most virulent augmented reality is simply reality itself. When Robert Thomas stops for a moment in London’s Paddington Station and records three quarters of a minute of a big band’s performance, the result — uploaded to his soundcloud.com/dizzybanjo account for free streaming and downloading — is a blissful murk. The audio is slightly muddy. The sounds are blurred, as if nostalgia were a kind of post-production audio effect, an effect intended in this case to suggest that the fog of memory had briefly broken and allowed through a snippet of antiquated pop.

There’s nothing more to the track than audio, recorded on the fly in public, just like the photo shown here, on Thomas’ iPhone. Those who observe phonography — the practice of audio field recordings — often draw a comparison to photography (just one letter difference), and they might not find a better parallel than this image and sound: two casual documents slightly out of focus. The iPhone’s microphone, unintended for high-fidelity recording, has condensed the sound, much as the phone’s camera has done its best to reproduce the scene below the allotted data cap.

Context is its own sort of filter. We know that Thomas is CCO of Reality Jockey, the company that produces the iPhone app RJDJ, perhaps the premiere augmented reality sound application (as well as its Inception-themed fork, and an iPad sibling, Voyager). Thomas is an individual who works by day in augmented reality. He could have done any number of things to this brass band he experienced out in the world: turned it into techno, echoed it around his head. But when he reached for his phone, he just pressed record — to capture, enjoy, and share a moment.

Track originally posted at soundcloud.com/dizzybanjo. More on Thomas/Banjo at dizzybanjo.wordpress.com. More on RjDj at rjdj.me.

A Series of Glitchy Twitchy Switchbacks Through a Steady Stream of Low-level Pulses

[audio:http://www.archive.org/download/Soundmutationsportal0/Portal0.mp3|titles=”Portal #0″|artists=Soundmutations]

That sense of data quickly being parsed and shuffled and spat back as a quick stopgap response, fending off overload by collating and managing, rather than digging in deep and taking time to sort out the details and patterns. That’s what “Portal #0” from Soundmutations comes across as, a needfully quick gloss on urgent information flow. It’s a series of glitchy twitchy switchbacks through a steady stream of low-level pulses. Released on the consistently solid Absence of Wax netlabel, it is a brief snippet of a single, just one and one quarter minutes of anxious, hesitant, portentous sonic processing (MP3).

There are moments in club-minded techno when sound is celebrated for its own sake, rather than doing primary duty as a score for late-night social activity. And there is a moment in sonic experimentation when it’s as if a club had broken out in a digital Petri dish. It’s not clear which of these best describes “Portal #0” — it’s right in between.

Kudos to Absence of Wax for its ingenious download setup, which provides not an MP3 but a Zip archive containing in addition two alternate audio formats (an oversized AIFF and a compact OGG), two cover images (one full size, one thumbnail), and a pair of metadata files — and the track is also streaming at the netlabel’s website, devinsarno.com/absenceofwax. Get the various files individually, such as the MP3 linked to above, at archive.org. More on Soundmutations at soundmutations.com.

Past Week at Twitter.com/Disquiet

  • The third time you hear "Mustang Sally," it's probably time to move to another cafe. #
  • Is Tower Heist the Easy Rider of the #occupy movement? #
  • Album a lot less interesting texturally once I realized my earbuds were reproducing external noise picked up by laptop's mic. #
  • Apparently my hometown (Huntington, NY) has the highest U.S. per capita consumption of video games http://t.co/K0vpY0Nv via @industrygamers #
  • There should be a placid Blue Angels event, just silent rainbow-colored air balloons passing to and fro all weekend long. #
  • The Blue Angels' #OccupyClouds noise-art performance work persists. It's like the Blue Man Group meets Transformers up there. #
  • Apparently this is not the debut year of the Prius Blue Angels. #
  • Delay/distortion on VoIP headset just slow enough that it sounds less like an echo of my voice and more like an imitator. #
  • Humidifier & construction next door creating peals of low-level audio beading: nanotech Steve Reich approaching grey-goo stage. #
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