Assignment 2.2: Feedback Composition and Continuity

Assignments: 1.1 | 1.2 | 1.3 | 2.1 | 2.2 | 3.1 | 3.2 | 3.3 | 4.1 | 4.2 | 4.3 | 4.4 | 5.1

1. Using your 20–30 minute feedback improvisation, play around with all you learnt in Lab 2.2: use internal feedback loops with delay and/or reverb. This should still be live performance, since you are using real-time inserts.

2. With your original material and now this new material, compose a 3–7 minute piece using the Pro Tools techniques you know (except you may not use any audiosuite effects—not gain, not pitch shift—and the only inserts you can use are delay and reverb in a feedback loop). Aim for a piece that—whatever its means of production—sounds as if it is continuous and evolving. Think more about cutting and less about pasting. This should help retain the original temporality. If you do re-use material in various sections of the piece, don't make this apparent. The final product should sound as if it is something that is chronologically viable as an improvisation or a prepared performance. Similarly, layer sounds as you like (here of course you have to paste), but remember that the goal here is a rich homogeneity, not the juxtaposition of diverse sound events. In general, crossfade will be your friend. Leave a final aif, etc.

Examples of Student Work from Prior Terms

These files are presented courtesy of the students and used with permission.

Catherine McCurry (MP3 - 4MB)
Ed Platt (MP3 - 4.1MB)
Jim Wagner (MP3 - 6.7MB)
Kelsey Byers (MP3 - 9.2MB)
Melike Yersiz (MP3 - 3.3MB)
PJ Steiner (MP3 - 4.3MB)
Rae Zucker (MP3 - 7.3MB)
Sari Canelake (MP3 - 4.3MB)
Tilly Whitney (MP3 - 4.4MB)