Message-ID: <alpine.NEB.2.21.1802271824040.8160@panix2.panix.com>
From: Alan Sondheim <sondheim@panix.com>
To: Cyb <cybermind@listserv.wvu.edu>, Wryting-L <WRYTING-L@listserv.wvu.edu>
Subject: inverse dynamics with reconfigured 1917 martin
Date: Tue, 27 Feb 2018 18:26:16 -0500 (EST)
inverse dynamics with reconfigured 1917 martin http://www.alansondheim.org/parlor03.jpg http://www.alansondheim.org/1917x.mp3 http://www.alansondheim.org/1917y.mp3 http://www.alansondheim.org/1917z.mp3 last night i slept two hours and thought the worst. today we picked up the martin guitar from rachel rosenkrantz, a brilliant luthier who was worked on it. the action was raised about 1.5 mm and a brace end reglued. it's more resonant now and a bit slower and will remain a bit slower until i'm used to it. so i change the angle of my fingers on the fingerboard and use less hammering on, pulling off, etc. our place is noisy and i reset and used reverse dynamics after the recording to reorganize the sound, recognize it for what it is, a matrix of machinery on and off the roads, within and without the building. no reason to listen to this but it's really cool, as is the martin parlor. inverse dynamics plays the register of the environment and room themselves. plays the sound of the hands moving on the strings. plays the breathing and atmosphere of the room. plays the heat and humidifier in the room. plays the sounds of other rooms. plays the neighborhood and cityscape. plays the wind. inverse dynamics embeds the instruments in the world. in the favor of the world. and to meditate on this. and on cessation.