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Russell Haswell - IN IT (IMMERSIVE LIVE SALVAGE)


kichiguy

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emego115cover_-350x350.jpg

 

5.1 DVD (DOLBY DIGITAL + DTS, 'audio only'):

 

1 - Milan, March 25, 2010, Part 1 (5.1)

2 - Leeds, March 17, 2010, Part 2 (5.1)

3 - Encore from Brighton, March 18, 2010 (5.1)

4 - Birmingham, March 12, 2010, Part 2 (5.1)

5 - Amsterdam, April 8, 2010, Part 2 (5.1)

6 - Brussels, April 9, 2010, Part 2 (5.1)

7 - Encore from Manchester, March 11, 2010 (5.1)

8 - Geneva, March 23, 2010, Part 3 (5.1)

9 - Lyon, March 22, 2010, Part 3 (5.1)

 

[00:57:43.11]

 

UHJ LP SIDE ONE:

 

1 - Budapest, March 29, 2010, Part 1 (UHJ)

2 - Zurich, March 24, 2010, Part 2 (UHJ)

3 - Berlin, April 1, 2010, Part 2 (UHJ)

4 - Encore from Bologna, March 27, 2010 (UHJ)

 

[00:14:38.06]

 

UHJ LP SIDE TWO:

 

1 - Encore from Nantes, March 21, 2010 (UHJ)

2 - Encore from Luxembourg, April 8, 2010 (UHJ)

3 - London, April 10, 2010, Part 4 (UHJ)

4 - Hamburg, April 6, 2010, Part 3 (UHJ)

5 - Encore from Hamburg, April 6, 2010 (UHJ)

 

[00:16:17.16]

 

Approximate Total Time (DVD + LP) = 1:28:38.31

 

UHJ vinyl LP cut by Rashad Bedker at Dubplates & Mastering, Berlin, January 2011

5.1 DVD encoded & authored by Ian Robinson & Sophie Elder at Ascent 142, London, January 2011

 

A 5.1 Surround DVD (Dolby Digital + DTS, ‘audio only’) + Ambisonic UHJ Vinyl LP (Stereo Compatible) Set. .

 

Following an invitation from Autechre to support them on their 2010 European 'overstepper' tour (30 Concerts, 15 Countries), Russell Haswell filled a Pelicase with a Contact Mic, Crystal Mic, Electronics w/ Light Sensors, FX Pedals, SOS Whistle, Various Multi-Color Headlamps w/ Flashing Modes, and boarded the tour bus.

 

Each night, while performing his Solo Free Improvisation, Haswell also recorded as many gigs as possible with a surround recorder. Selections from these live recordings are presented in Surround on this unique package containing a UHJ LP* and 5.1 DVD, housed in a 12" sleeve.

 

*http://en.wikipedia.org/wiki/Ambisonic_UHJ_format

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5.1 DVD encoded & authored by Ian Robinson & Sophie Elder at Ascent 142, London, January 2011

I'm meeting up this young lady this evening for drinks, it's the first time she'd ever encountered the noise genre. I don't think she was impressed !

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  • 4 weeks later...

sounds interesting, but my question is... was he actually performing with more than 2 channels? If not, than the results of this might be kind of a semi David Tudor Neural Synthesis. Except in that case there were over 16 channels and the recording was done binaurally.

I'd be curious to check out the results of this new Haswell, but his last release 'Wild Sounds' was a lot cooler conceptually than it was to listen to.

 

If Haswell recorded himself during these gigs, I wonder if the Ae sets were recorded too........

 

holy shit, good question anybody here know Russel Haswell?

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sounds interesting, but my question is... was he actually performing with more than 2 channels? If not, than the results of this might be kind of a semi David Tudor Neural Synthesis. Except in that case there were over 16 channels and the recording was done binaurally.

I'd be curious to check out the results of this new Haswell, but his last release 'Wild Sounds' was a lot cooler conceptually than it was to listen to.

 

this is what is says on the cover

THIS IS THE WAY IT WAS

 

The aforementioned 'tour' was as support for Autechre on their March to April 2010 European 'overstepper' tour; 30 Concerts, 15 Countries. My previous 'live' albums ('Live Salavage 1997-2000' and 'Second Live Salvage') were both sourced recordings of real-time computer generated material. Having witnessed over 10 years of 'artists' using their space-bar as a 'play' button and pretending to do something, I decided to leave the laptop behind and give myself a challenge. I wanted to present something with impact: both physical and challenging for the audience. To use only electronics and pedals, but not "groveling around on the floor" using them.

 

The master output of my equipment was dual-mono, which was fed from stage to a SSL front-of-house desk and relayed to the venue's main PA (usually d&b audiotechnik, MEYER SOUND, L-ACOUSTICS or ALCONS). Whenever possible on-stage monitors were used, positioned directly behind my performance area. Prior to each night's set, the inexpensive 4 channel recorder was set-up onstage, in front of my equipment, just behind and between the FOH PA, and in front of the onstage monitors. This ensured that at least 4 sound source locations (direct and indirect) encircled the recorder. Some of my electronics incorporated LDR Light Sensors, affecting pitch; controlled by LED Headlamps (class 2), plus additional interference from the venues stage and hall lighting.

 

The size of the stage, position of the equipment, monitor position and height, hall architecture and acoustics, capacity and attendance, temperature, and humidity, and sound level (dB) or Leq Meter limiting all varied from event to event. Each of the final recordings documents the performed audio output, each hall's acoustic, the audience's reaction, and their proximity to the recorder, all from an onstage position, while retaining the auditorium's spatial impression. Recordings failed, or didn't take place on 9 occasions.

 

probably some spelling errors and whatnot

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