Arovane @ 6. IOIC Stummfilm-Festival in Zürich

Foto Kopie

das IOIC stummfilm festival findet jährlich in zürich statt. ich folgte spontan der einladung einen film live zu vertonen. eine premiere für mich und eine wunderbare gelegenheit meine erfahrungen als sound designer für dieses projekt umzusetzen.


nach einem kurzen flug und einem kühl, nebligen empfang in der schweizer stadt des kantons zürich lud mich die intime atmosphäre des festivals mit kleinem aber feinem, sehr aufmerksamen publikum in den alten hallen des kunstraumes walcheturm ein. schwarz weiß filme aus den 1920’er jahren flimmerten über die leinwand, dazu improvisierte elektronik und musik von akustischen instrumenten als untermalung.

aber es war mehr als nur untermalung. klänge verschmolzen mit der handlung auf der leinwand, musiker reagierten auf ausschweifende posen der akteure im film. faszinierend, die dynamik die dadurch entstand.

mein set für den film salome (1923) von aubrey beardsley bestand aus elektroakustischen/ elektronischen soundscapes kombiniert mit improvisierten piano klängen. der emotionale gehalt des filmes und die ambivalenz von salomes gefühlen drückte sich in der diskrepanz von abstrakten klängen und den warmen, vollen, erdigen klängen des blüthner flügel aus.

 „The mystery of love is greater than the mystery of death.

danke, uwe zahn

11012762_1079549205410337_880904986445591186_n

Photos by Dominik Grenzler, IOIC Institut

Making of…

Wilhelm Matthies explains his technical approach to «Passage»:

To record this album, I used an RME UCX as the audio interface with all pieces in general.

I used two AKG C 2000B microphones recording in stereo in pieces 1-3 and two Earthworks QTC30 microphones recorded in stereo for pieces 4 and 5.

The RME UCX was connected into my DAW, Logic Pro 9. I recorded in several ways.

In most pieces I recorded dry, but in some I recorded with a reverb turned on. In most pieces I played without adding EQ first. When using any EQ or reverb while recording, it was Logic Pro effects, not from the RME UXC.

Mostly I add EQ and reverb after recording. I only did slight imaging panning in some pieces, so no panning, only global panning to more or less locate the instrument in the center of the aural space. Some pieces are slightly to one side, I notice as I am hearing the passage (for X) 2.

For reverb I used two tracks consistently. I use a small room reverb at a higher volume level and a larger hall reverb at a much lower volume level. No two pieces have the same proportions, I mixed specifically for each one.

The two tracks are balanced to be as loud as possible at their peak level without clipping. I did not use any dynamic limiter, to maximize the dynamic range of all of the pieces. The quiet passages are equally important as quiet as the louder ones are played loud.

All the remaining magic is done during the mastering process by Weldroid.

Sorry about the heater clacking noises in some places, and I heard a train passing at the end of the 2nd piece, but then again, it is real! I will create some window barriers this summer. I have deep windows into which I could stuff sound absorbing material :-)

Douglas Dare

Daglous Dare sah ich zum ersten Mal live im Vorprogramm von Ólafur Arnalds im Mai vergangenen Jahres. Ein junger schüchterner Mann spielte paar Songs auf dem Klavier und sah eindringlich. Paar Monate darauf veröffentlichte Erased Tapes Records seine erste Ep «Seven Hours». Ein Jahr später folgte das Album «Whelm» ebenfalls auf Erased Tapes. Heute Abend sah ich ihn im Vorprogramm von Fink und war overwhelmed.

www.douglasdare.com

Foto

Montags im Exil: Nik Bärtsch mit Ronin

Nik Bärtsch sah und hörte ich zum ersten Mal in dem Film «Sounds and Silence». Eine aussergewöhnliche Reise durch Klangwelten, Biographien und zu wichtigen Schauplätzen mit Manfred Eicher, dem herausragenden Produzenten zeitgenössischer Musik. Danach erlebte ich Nik solo am Piano im Helmhaus, Zürich im Rahmen einer Ausstellung. Seine langen Melodiemodule versetzten mich in eine Art Trance. Wahnsinn. Kurz darauf las ich, dass er in dem Zürcher Club «Exil» immer montags Konzerte gibt. Das ist mittlerweile vier Jahre her. Doch erst jetzt gelang es mir in den Club zu gehen und ein Konzert von Ronin zu erleben. Wahnsinn. Immer wieder montags :-)

Foto 1

Working with Adriano Orrù

In a few weeks I am going to start the cooperation with Adriano Orrù, Composer and double bass player.

About this great musician:

Composer and double bass player Adriano Orrù was born in Nuoro, Italy in 1958 and now lives and works in Cagliari. He devotes his time to jazz, radical improvisation, chamber music. He also works as a music teacher.

Orrù has collaborated with artists such as Giancarlo Schiaffini, Paolo Fresu, Tony Oxley, Lenka Zupkova, Ettore Fioravanti, Roberto Cipelli, Marco Tamburini, Tino Tracanna, Andy Gravish, Tim Hodkinson, Marcello Magliocchi, Victor Nubla, Simon Balestrazzi, Silvia Corda, Takatsuna Mukai, Henning Frimann, Renato Ciunfrini, Guro Skumsnes Moe, Håvard Skaset, Angelo Contini, G.P. Campus, Corrado Altieri, Monica Serra, Mauro Cossu, Clara Murtas, Stella Veloce, Sebastiano Meloni, Alessandro Garau, Stefano Figliola, Alessandro Olla, Paolo Angeli, Manuel Attanasio, Elia Casu, Mauro Usai, Paolo Sanna, Roberto Pellegrini, Carla Onni, Giacomo Calabrese, Sara Marasso, Mario Faticoni, Riccardo Pittau, and Massimo Carboni.

He has recorded for Splasc(h), Digitalis Purpurea, Comar23, TiConZero, Big Round Records, Setola di maiale, Magick With Tears, LaBèl.

Together with the pianist Silvia Corda, he co-wrote a performance for six musicians and a spoken voice entitled “Portrait in Three Colors” and dedicated to Charles Mingus. Orrù works with the Silvia Corda Trio on a regular basis, and several of his compositions can be heard on the trio’s Impronte, a CD produced by Splasc(h) in 2001. In 2004, he established the composition and improvisation ensemble Impromptu featuring Giancarlo Schiaffini. In 2005, he published a live CD of the Impromptu quintet and the first recording in his own name: Solos and Duets, a work dedicated to double bass solos and duets with Giancarlo Schiaffini on trombone, Paolo Angeli on Sardinian prepared guitar, and Roberto Pellegrini on percussion. He has also worked with Moex, an ensemble focused on electric-acoustic experimentation. In 2010 Big Round Records has published a CD “Improvised pieces for trio” with Sebastiano Meloni on the piano and Tony Oxley on drums. A new CD titled“Untitled Soundscapes” performed by A Sphere Of Simple Green (Silvia Corda on prepared piano, Simon Balestrazzi on laptop and Adriano on the double bass) was released in 2011 by the label Magick with tears. A free downloadable EP, “Hèsperos”, was released by LaBèl netlabel in 2011 as well, the work is a double-bass solo. In 2012 the label Setola di maiale released “Collettivo di resistenza culturale” a full improvised concert live recorded.

Reviews of his work have appeared in Down Beat, Il Manifesto, Musica Jazz, Cadence, Jazzit, Cuadernos de Jazz, All About Jazz, L’Unione Sarda, La Nuova Sardegna, Double Bassist, Jazzword, One Final Note, Flash Art, and on Radio 3 RAI.

He has performed at events such as Isole che parlano, Time in Jazz, Ai confini tra Sardegna e Jazz, Concerts of the Nuoro Jazz Seminary, Jazz d’autore, Cerisano Jazz, Varese in Jazz, Jazz in Sardinia, Veneto Jazz, San Teodoro Jazz, Sardegna Arte Fiera, Musica sulle Bocche, The Barcelona Lem Festival, Senni Jazz, Isole che parlano, The Signal Festival, Festival Spaziomusica.

http://www.adrianoorru.com/