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January 27, 2022 — This new series is, first of all, a chance to play a bit more seriously with some effects I’ve been using on the Guinea-Pig Fleet (re/de)constructions. The base material for the first set of tracks is a fairly simple Wotja 22 mix, “Opposite grain,” recorded in Garageband, which provides an audio track using Wotja instrumentation and a midi file of the undifferentiated sort I used in the early hors du troupeau reconstructions. And I’m just stacking interactions of those two tracks, adding effects and new instrumentation, mixing things down and adding the new audio files to the stack, before repeating the process, selecting whatever seems most interesting from the available material. And so on…
I’m working much the way I did twenty-five years ago, without much method to my madness, just enjoying the process as my mind is largely occupied with other concerns.
The result, for now, is a sort of uneasy ambience, which I expect I will begin to refine in subsequent manipulations.
- Damaged Atmospheres – One Libertatia Laboratories 1:02:18
- Damaged Atmospheres – Two Libertatia Laboratories 1:05:00
The first recording of 2022 is both a return to the world of “Positive Teal” — the Wotja mix from which “Relays and Reconstructions” was built — and the first new Guinea-Pig Fleet track in decades. Wotja 22 Pro, the new version of the generative software, was released last night — and I naturally turned to familiar material to explore a few of its new features. I had already been playing around with a track built from instances of “Positive Teal” and tracks created for the Guinea-Pig Fleet reconstructions, but this recording relies entirely on Wotja tracks and features material from a new variation on the original mix, “Positive Teal 22.”
The image for the track makes use of a photograph by Ian David Winter.
A quick experiment in generating sounds for sleeping, using Wotja, Cubase and a few basic fx patches.
I’m finding this more useful as a background for writing than for sleeping — but I am admittedly used to a pretty complex barrage of wind, rain, surf and thunder when I’m trying to wind down at night.
I’ll probably follow this up with a similar composition, driven this time by patterns set up in Nodal. I’ve also been working with a couple of TC-11 patches that nicely mimic wind-and-wave sounds, with the intention of simply recording some hour-long or longer performances, using the multitouch control interface on my iPad(s).