TOSHIYA TSUNODA / TAKU UNAMI : Wovenland 2

角田俊也と宇波拓によるフィールド・レコーディングもの音響ノイズ第2弾。
前回同様それぞれが違った場所で録音した音源をプロセッシングしてつくられた作品ですが、前回以上に物凄いサウンドになってます。
フィールドレコーディングの作品というより完全にミュージックコンクレートです。
2枚組大作！
前作同様めちゃくちゃオススメです。

「サウンドアーティストの角田俊也と宇波拓は、2度目のコラボレーションとして、釣り場、鳥、ハイキングコースなど単一のフィールドレコーディングを各トラックに使用し、特定のプロセスを使用してそれらのレコーディングを録音および操作する一連の音響実験を発表します。これは、私たちが遭遇する感覚を心が処理して知覚される現実を作り出す方法を模倣することを目指しています。」



Mad Patissier
1-1 Fishing Spot In Misaki Port / 500 Ms / Three-Layer Freeze 8:01
1-2 Fishing Spot In Misaki Port / 5 Secs / Three-Layer Freeze 8:01
1-3 In The Glass, Kaneda / Equalize The Total Amplitude Ver. 1 8:01
1-4 In The Glass, Kaneda / Equalize The Total Amplitude Ver. 2 8:01
1-5 In The Glass, Kaneda / Slope Extraction 8:01
1-6 Pigeon, With 5:23
1-7 Pigeon, Without 5:23
1-8 Fireworks, With 8:03
1-9 Fireworks, Without 8:01
1-10 Small Valley In Kaneda / 3 Secs Freeze 8:00
Speed Freak
2-1 Hiking Trail Near Zushi High School / Playback Speed At 16x 1:48
2-2 Inside The Fish Market / Playback Speed Decreasing From 5x To 1x 2:00
2-3 Sugaruya / Crickets / Playback Speed At 1/5 6:01
2-4 Miyagawa Port / Playback Speed At 1/5 8:01
2-5 Fireworks / Playback Speed At 64x 0:26
2-6 Fireworks / Playback Speed At 128x 0:13
2-7 In The Glass, Kaneda / Playback Speed At 1/5 11:13
2-8 Nagaura Port / Playback Speed At 1/3, Time-Stretched Without Pitch Shift 8:13
2-9 Overlooking Hasse / Playback Speed At 1/3 10:34
2-10 Jinmu-Ji Temple, Evening Cicadas / Playback Speed At 1/3 20:00

Layout [Layout Design], Producer – Yuko Zama
Producer – Jon Abbey
Written-By [All Tracks By], Artwork [Cover Artwork By], Liner Notes – Toshiya Tsunoda
Written-By [All Tracks By], Performer [Manipulated By], Artwork [Cover Artwork By], Liner Notes – Taku Unami

Disc 1: With a fast Fourier transform, we extracted the results of spectral analysis at a specific moment. We then established the actions that occurred by setting a continuous process which split perpendicularly and a threshold that split parallel to the direction of the audio waveform.
1-1: We averaged out the change that happened over the course of every half second and outputted it. The process was divided into three layers every 0.5/3 of a second.
1-2: We averaged out the change that happened over the course of every 5 seconds and outputted it. The process was divided into three layers every 5/3 of a second. The same recording material was used as in Track 1-1.
1-4: All amplitudes that exceeded the specified value were uniformly shaped. The same recording material was used as in Track 1-3, but the value of the specified threshold value was changed for each.
1-5: The spectral analysis result for every 4092 samples (≈ 0.01 s) was compared with the previous result, and only the sine wave with a frequency where the difference in amplitude exceeds the specified value was outputted. The same recording material was used as in Tracks 1-3 and 1-4.
1-6: A recording of a dovehouse. Output only when the amplitude exceeded the specified threshold value.
1-7: A recording of a dovehouse. Output only when the amplitude was below the specified threshold value.
1-8: A recording of a fireworks event. Output only when the amplitude exceeded the specified threshold value.
1-9: A recording of a fireworks event. Output only when the amplitude was below the specified threshold value.
1-10: Freeze the sample every 3 seconds and outputted. The spectral analysis results of 4092 samples (≈ 0.01 s) were frozen every three second and outputted.

Disc 2: For Disc 2, the theme was the change in playback speed. As with magnetic tape, we processed the change of speed and pitch in a proportional manner. In 2-6, the missing samples caused by dropping the sampling frequency were interpolated, so that only the speed changed while maintaining the playback pitch.
2-6: For tracks 2-5 and 2-6, the same recording material was used as in tracks 1-8 and 1-9 of Disc 1.
2-7: The same recording material was used as in tracks 1-3 to 1-5 of Disc 1.