Casio SK-5 Sampling keyboard

Since my last post, I’ve been gearing up for sound, and there’s a new addition to my toy box, this Casio SK-5 Sampling Keyboard.

Armed with all this cool (and cheap!) stuff, along with some software, I’ve begun to make recordings.

First, I wanted to learn to record spoken word in stereo. Here’s my first attempt. I call it “lie detector test”.

Recently, and in a similar “vocal” frame of mind, I was messing around with text-to-speech software, feeding it strings of random letters and listening for interesting results. Here’s one that my friend Curt helped me to record:

The good news is: that one has already been sampled by a jazz musician! Here it is, included within a larger work, along with samples from others.

It’s one thing to record your own voice, and to have someone else include it within a larger composition, but I wanted to see what sorts of musical compositions I could come up with on my own. The first one was just a simple little melodic thing:

The second one is a bit more complicated. It includes a sample of a cricket, a piano playing backwards and also a modified recording of my own voice. Now we’re getting somewhere!

I’m gearing up to start another project with Second Land. To help with that, I’ll be gathering some useful bits, here on NoCategories, so I can more easily share project notes. The first one: “concrete music“.

Musique concrète (French for “concrete music” or “real music“) is a form of electroacoustic music that utilises acousmatic sound as a compositional resource. The compositional material is not restricted to the inclusion of sounds derived from musical instruments or voices, nor to elements traditionally thought of as “musical” (melodyharmonyrhythmmetre and so on). The theoretical underpinnings of the aesthetic were developed by Pierre Schaeffer, beginning in the late 1940s.