Most years I host a “white elephant” party: Bring gifts you were given that are pretty bad, re-wrap them, and then you pick from the pile and laugh at the bizarre stuff you unwrap. Last year, I wound up with a pair of deer antlers.
I don’t hunt, yet I have a thing for taxidermy. I have no idea why.
As they sat in my studio, I thought back to an interview I did with Cheryl Leonard for the Sonic Terrain blog a few years ago. I remember her making instruments from limpet shells and other organic objects. Why was I not exploring the sonic possibilities of this strange object on my shelf?
Deer antlers are bone, not hair, so they are riddled with hollow channels, and are extremely tough. The main thing I tried was to explore their resonance, with a cello bow. I had to lay a good amount of rosin on the bow, but they did resonate. The sound is hissy, atonal, but with some pronounced fundamentals and overtones…just not in relationships that one usually considers musical. I used a Barcus Berry 4000 contact microphone and recorded onto a Sound Devices 702 field recorder.
When I hear an interesting sustained sound with too many frequencies, or odd frequency relationships, I usually go to one place to create something musical out of it: iZotope Iris. It’s a very creative tool for making playable virtual instruments out of pretty much any sound. In this case I also used New Sonic Arts’ Granite granular synthesis plugin for several layers. It all sounded very breath-y, like a somewhat melodic whisper. I mixed it with some LFO-driven rhythms in Reason and a bassline and drone from Madrona Labs’ Aalto. It was all put together in Logic Pro X with very few effects, lightly compressed by Cytomic’s The Glue.
Deer antlers, even processed through modern software, aren’t the most flexible or sonically soothing instruments around, but this article can at least serve as a reminder to explore everything around us for its interesting sonic possibilities. You never know what you’ll find.
Over a year ago, I posted some scraping metal sounds from the steel doors of Fort Baker’sBattery Yates, right at the Golden Gate of the San Francisco Bay. I recently unearthed some metal hits from that same session: They’re heavy, resonant, and the concrete rooms behind them certainly lent the sound some nice air in the low end. (Read the previous installment if you want to learn more about this location and how it was recorded.)
And, since today is Halloween, the original sounds are presented in both their original form and pitched down by an octave for extra heaviness and spookcreeptacularness.
I went to the granddaddy of thrift stores recently, so much so that it’s more of a glorified junk store…but oh, what glorious junk. I’m talking about Urban Ore in Berkeley, California. Sometimes I’m self-conscious shopping for things by ear, picking up random things and just listening to them, but at Urban Ore – heck, Berkeley in general – I can ear-shop in peace.
I was in a metallic mood, so I filled a bag with things that squeak, resonate, creak, clank, and sproing. Based on the dronetastic results of striking wire shelving last year, I picked up a few thin-wire metal grills that had sonic promise, among other things that will surely find their way to this blog later this fall and winter.
For the grills, I decided to trot out my much-neglected piezo contact microphones. The resonant notes were so subtle that it seemed like the best way to capture the sound at a reasonable volume. I plucked them, struck them, and played them with a cello bow. The magic happened, though, when I realized one was easily played with a bow and the other was not, so I stuck the bowable one inside of the other, and played away, causing both of them to resonate when played appropriately.
The results were like ultra-low-fi bastardizations of stringed instruments played in horror movies, and I just loved the character. The rawness of hearing the actual hairs of the bow on the metal, in my opinion, lends to the eerie charm.
[Contact microphone into Sound Devices 702 recorder]
Rusty? Heavy? Covered in graffiti? You KNOW it will sound good.
Many people are unaware that the San Francisco Bay Area was once thoroughly fortified against attacks from the sea. Remnants of this past dot the entrance to the Golden Gate, in the form of bunkers that once housed gun emplacements.
One such installation was Battery Yates at Fort Baker. Located at the best vantage point for southward-facing photos of the Golden Gate Bridge, Battery Yates was meant for nothing other than picking off minesweepers that might try to get through the minefields inside the ‘Gate in wartime…minesweepers, of course, that would never come.
Battery Yates was active from 1905 through 1946. Now, only the U.S. Coast Guard maintains a station at Fort Baker, primarily for saving the lives of boaters and wind/kitesurfers. Now Battery Yates is a tourist attraction, is fun to scramble on and around…and, in swords to ploughshares style, is also a great source for cool sounds!
Each of the gun emplacements has four lockers, each sealed with a massive steel door. Some doors have outer latches that have been left to swing freely in favor of just welding the doors shut. These latches, rusted by more than 60 years of salty mist, are quite expressive when swung, manipulated, and otherwise mishandled. The perfectly square concrete rooms behind these doors caused them to have a lot of low end and resonance.
I decided to try my luck with recording some groaning metal effects on these doors, despite the fact that:
I only had some time before work one weekday, which meant that…
I could only record during rush hour, made worse by the fact that…
The Golden Gate Bridge is only 1/8 of a mile away, plainly visible from the recording site.
All this meant lots of background traffic noise. I mitigated these risks by using a hypercardioid microphone for off-axis rejection of sound (a shotgun would have been a better choice in terms of pattern, but I just loved the sound of my MKH-50 too much to not use it), careful placement of the mic relative to the bridge (making sure that either the mic element faced away from the bridge or a thick concrete wall blocked line of sight), and the judicious use of the Denoiser plugin from iZotope RX. And, for effects like these, the small-condenser-mic proximity effect only helps!
The result came out pretty well, all things considered…although the editing in today’s post is pretty sloppy, so apologies for that. Everything was recorded at 24-bit, 192-kHz, as best befits complex groaning metal sounds, since pitching this stuff down can yield pure sound-design gold. I recorded even more massive metal hits from this session, which may be a topic for a separate post… (And until then, you can hear yet more heavy metal hits/impacts here, here, and here.)
Eton Mine, Lucky Boy Trail, Joshua Tree National Park, California, USA.
[One in a series of posts from my spring 2011 trip to the southern California desert.]
Joshua Tree National Park is beautiful, but much of its history (prior to being designated a National Park) has scarred and pockmarked its landscape. In the Gold Rush, the Joshua Tree hinterlands held some of the most productive mines in California until well into the 1900′s. These mines were big, sprawling, and deep. To my knowledge, no Balrogs were released as a result. But that would explain a lot about Golden State politics.
We hiked on some lesser-traveled trails and found an acre of land with no fewer than five vertical holes in the ground: Mine shafts. They were all wired off and had metal grates over them. One in particular, the Eton Mine on the Lucky Boy trail, had warning signs on the wire fence surrounding it.
It was quite windy that day, and I just knew I had to get the creaking, squeaking sounds of this battered sign on the rusty wire. It took me a surprisingly long time to figure out how to protect my handheld recorder from the wind, but ultimately I decided to use my body as a shield and then stick it under my microfleece hoody. (I had the OEM fuzzy windscreen on it, which is one of the most useless strips of fabric I’ve ever seen, er, heard.) I just hoped that my body protected it from the 25+ mph wind gusts and that the fabric wouldn’t dampen the high frequencies too badly…and because of the sound, I had high-frequency content to burn.
With some judicious noise reduction in post – subtle, as always, gives the best result – it didn’t come out too shabby, considering the horrible recording conditions and super-no-budget wind blocking techniques!
Mr. Heater, the oddest and loudest camping stove ever.
One of the guys at work loves camping gadgets (as do I), and he shared a video of his odd little Mr. Heater camp stove making some weird unholy racket. Naturally, I asked to borrow it and did some recording sessions with it over the holidays.
A metal reflector lets the unit be used as either a heater or a camp stove. This ring of steel doesn’t make much sound when it’s running (all you hear is the hiss of gas emission, much like this recording), but it sure resonates when the stove fires up, starting as one tone and diverging into two separate tones, creating a harmony. Very effective or driving away bears, or as a means for summoning the dead.
The only processing applied to this sound is some noise reduction to minimize the gas regulator’s hiss, to pull the resonance forward. Recorded at 192kHz, a clip like this is ripe for pitch shifting for even scarier tones! (Mic placement was tricky; placing the mics right in front would melt them instantly.)
[Sennheiser MKH 50/30 pair, rigged for mid-side stereo, into a Sound Devices 702 recorder]
Pipes along the side of the road. This is the kind of "a-ha!" or "ooh!" moment recordists wait for!
[Just had to post something orange and slightly eerie. Happy Halloween, all!]
It was a quiet night in a San Francisco warehouse district: Calm wind, not a lot of people on the streets, the sun was going down. A bunch of pipes – probably for redoing water lines beneath the street – were stacked on the sidewalk, perpendicular to the street.
This is precisely the reason that I carry a small, handheld field recorder with me at all times. I shoved it into a few pipes to check out what I could hear. I got some really nice drones with that added pipe/tube resonance and comb filtering, which will definitely go in my growing and rather extensive “unsettling drone” library. Some of the car passbys in the street had a resonant, screaming quality, which may make good spaceship pass-bys as well, or aggressive layers for expressive car ‘bys.
But, I quite liked some of the passages where this drone mixed with the activity of the street. Today’s sound is recorded within a 12″ diameter concrete pipe about six feet long. A lone man walks down the street singing, followed by a bicycle, he continues singing then crosses the street in front of me, a breath of wind really amps up the resonance for a moment, and then a few cars pass by, kicking up loose asphalt. Although it sounds like a mix of street noise with a synth drone underneath it, this is unedited except for some compression and normalization. The imaging is incredibly tight because there was about six feet of 12″ pipe in front of the mic capsules, narrowing the stereo field.
An earlier post spurred a couple of commenters to wonder about hearing some sounds from my shovel-in-wheelbarrow recording session pitched down by an octave. I recorded that session at 96kHz, so the sounds could easily manage to be stretched and pitched down.
So, here are the results, as requested. Definitely leans towards a cinematic feel, and I find that sounds like these have 1,001 uses! Enjoy, and happy Pitchshiftember!