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SBPMT aka ADSIAGJDGOLDD


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Description
A music concrete piece. The acronym stands for:
Salad Bowl, Pot, Massuer, Top AKA A Decent Subwoofer Is Always Good Just Don't Go Overboard Like Dan Did

SBPMT are the instruments the source material was taken from and ADSIAGJDGOLDD is a story you can ask me about.
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Song Stats
Hits: 1028
Comments: 6
Fans: 2
Plays: 66
Downloads: 75
Votes: 5
Uploaded: Sep 25, 2005 - 08:55:01 AM
Last Updated: Nov 04, 2005 - 08:53:27 AM Last Played: Apr 15, 2008 - 05:31:13 PM
Song License
Creative Commons License:
Attribution-NoDerivs-NonCommercial

Creative Commons

Song Actions
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Keywords:
music concreté (2), kitchen (4), experimental (399), MetaSynth (3)
Hardware:
Salad Bowl, Pot, Massuer, Top, Monash Recording Studio
Software:
Digital Performer
Comments
protart said 1507 days ago (October 7th, 2005)
BROTHER!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
but.... please listen my "storm in a frog pool"!

anyway, Your work woud be appreciated by a modern Jacques Tati - and anyway, I really appreciate it!

ego sum tuus FAN
Check out my latest song called STORM IN A FROG POOL
protart said 1507 days ago (October 7th, 2005)
BROTHER!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
but.... please listen my "storm in a frog pool"!

anyway, Your work woud be appreciated by a modern Jacques Tati - and anyway, I really appreciate it!

ego sum tuus FAN
Check out my latest song called STORM IN A FROG POOL
allsaints said 1493 days ago (October 20th, 2005)
title
This is a really exceptional piece. What strikes me most is the use of
space. Very minimal, both in the use of "instruments" and spacing. I'm
surprised more people haven't commented on the song. I wouldn't mind
knowing more about its composition and how it came into being.
Check out my latest song called Color Permutation Of Composition Two
The Composer said 1493 days ago (October 21st, 2005)
title
Well you've asked for a little more information, so here it is:

This was my first real experiment with music concreté. Originally it was just a
course requirement for composition, but as with a lot of music that I write...
the being involved in the composition process of almost any style/genre of
music really helps me understand, appreciate and enjoy other works in
similar styles/genres or using similar techniques.

A large project of was simply collecting and organising the source sounds
etc... but there are three sound levels in particular that make up the majority
of the piece.

1. The majority of the sounds you hear are from the pot and massuer. The
short sounds are the pot being hit by the massuer and the long sustained
humming sounds are created by moving the massuer over the bottom of the
saucepan. Various malniuplations of these sounds make up the free mobile
texture of the piece.

2. The scratching sound heard through almost the entire length of the piece
is a recording of a top of mine that moves quite rapidly around a small base
(and spins for several hours at a time). However when I recorded this top, I
did it in mono... and when I was thinking about this, I came up with the idea
that instead of panning the top to match the original movement to use the
movement of the top to control the panning of all the other sounds. So aside
from a few occasions, the movement of all the mobile sounds has a very
strong relationship to the sound of the top.

3. Particulary if you've listened to this piece with a subwoofer or decent
headphones, the deep gong sound is that of my thumb hitting the salad bowl
with all the high frequencies cut out and the fundamental frequency (about
52 hertz) amplified. This is used both as a kind of harmonic base (yes, there
is even a harmonic progression of 1 5 1 at some point) and in the reverse and
highly distorted form is the only thing that effect the top (causing it to 'fall
over' or skip)

That is what I can remember about the main ideas of the piece. Since this
piece was written only in my first offical semester of studying composition, it
wasn't as planned as it would be if I wrote it now. Some of the piece was still
very "lets just write it and see where it goes" but not as much as it might've
been because there was at least one scrapped attempt before started to
collect my thoughts together to write this piece.

Hope you find this interesting and thanks for asking.

---
The Composer, previously known as The Pianist who hasn't played the piano in a while...
allsaints said 1491 days ago (October 22nd, 2005)
title
The background was interesting and useful. Since I haven't really kept up
with music concrete, does a piece of music, such as this, that uses
manipulation of the original sound, still fall into this category?
Check out my latest song called Color Permutation Of Composition Two
The Composer said 1490 days ago (October 23rd, 2005)
title
Does it count as music concrete? As far as my understanding of what the
term means is that its starts with real (concrete) sounds being recorded and
then malnipulated. So as long as the sounds are traceable back to a real
source, its ok... if its synthizised, then no.... or less so... or something.

Eitherway, all the sounds used in this piece were origianally recorded by a
mono condenser mic. So I think the answer is yes.

---
The Composer, previously known as The Pianist who hasn't played the piano in a while...
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Artist Info
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Name: Bryan Anderson
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Currently finishing off my honours year of a bachelor of music/composition (which is why I really haven't been here much at all) and at the time someone actually reads this, I am most likely to be finishing off my study at Luleå University in Sw... [see more]

Check out some of my other songs:

Genre Info
Experimental music is any music that challenges the commonly accepted notions of what music is. There is an overlap with avant-garde music. John Cage was a pioneer in experimental music and defined and gave credibility to the form. As with other edge

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