A. The Exorcism:
I. Entrance of the Fool (0:16)
II. Consumption (1:29)
III. The Beast Escapes! (1:40)
B. The Refleshing:
IV. Understreets (2:30)
V. Strapped to the Machine (3:32)
VI. Second Heartbeat (4:14)
VII. Metamorphosis (Chaos Magnified to a Point) (4:33)
VIII. Stone Pastures (4:54)
All the instruments in this piece were twisted from a 30-second sample of two people jumping on a treacherous trampoline.
Performing spectrum analysis on the samples allowed me manipulate their pitch and looping properties easily. Shortening the looping length manually on a sample of a spring created a steady tone which stuttered at certain points in the piece.
I found that the best sounds Kyma can make are when it screws up. The Demon Chorus theme first heard in Section III is the sound of a "bouncing" noise pitch-shifted lower than the Kyma could handle. The result is the clipping, metallic sound of your eardrums being sawed off.
Kyma X proved to be a great ally in sound making, but a formidable enemy in composition. Many of the sounds I made in The Refleshing were from playing Kyma like a live instrument, with little or no automation. For example, the slowly-revolving fan theme in the last Section was made by holding the cursor on a point of the formant waveform of the Tau Editor. (The sample was of someone saying, "Heh").
Since there was no way to record the manipulations of the interface of the Tau editor with Kyma, I had to use Pro Tools to record the output of Kyma while I manipulated it live to a beat track.
The beat track in the Second Movement was sequenced from samples of the trampoline in the NN-XT Sampler.
Finally all the samples were chopped up into little bits and spewed out into a form whose origin I fear greatly. I feel only partly responsible for its creation, but I take full responsibility for its release onto the world. May the Gods help us all.
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