As explained in class, one of the exercises for the unit “Sonic Doing and Thinking” in this term is about borrowing some Korg Volca synthesisers from ORB and experiment with them. In this case I’ve selected to book in first instance the Volca Modular, although I currently own a Volca synth, Volca FM, and I had previously Sample, Keys, Bass and Drum so I consider myself quite experienced with this device.

The Korg Volca series are machines both analog and digital that normally replicate classic devices or synthesis models, as Volca FM is inspired on the classic Yamaha DX7 or Volca sample on an Akai MPC. All Volcas feature a mini-jack audio output and two other 3.5mm connections for click style sync tempo in and out, in order to synchronise them to other devices. They also normally have a PLAY and RECORD button, a MEMORY and a FUNC button, as well as a tactile mini keys piano keyboard.

Volca Modular is a mostly analogue semi-modular synth, inspired in the classic Buchla systems, a West Coast style brand os modular synthesisers. The Volca Modular features a similar structure than these classic machines; two oscillators, two function generators, two low pass gates and a couple more functions and effects, all of them with inputs and outputs which will allow us to generate our sounds in a modular synth way.

Here I’ve recorded some sequences that I’ve created, also using a effects pedal with the Volca Mod and some pads from my modular synth:

In this article, Spanish sound artist Francisco Lopez is explaining the main points in the world of the Soundscapes, field recording and Musique Concrete, and in particular he wants to explain the main differences between the theories from R. Murray Schafer and Pierre Schaefer.

Soundscapes are like photographies but in terms of sound recordings. They could also be seen as paintings, depending on how much the artistic factor comes into play. These Soundscapes are sonic representations of certain places, edited recordings that create the most accurate representations of the sounds in these locations.

We can find two different thinking ways within this field, to start with, Schafer and his Acoustic Ecology, finds the beauty in the most accurate representation of the reality, finding other noisy environments very annoying and just another issue related with the human industrialisation and progress. In the other hand, we have Schaeffer’s theories and “l’object sonore”, where the sounds are taken out of their context in order to create other compositions in the form of Music Concrete.

In conclusion, I think that this is a big subject of discussion (and it always will be) as in other artistic fields, with the balance between reality and abstraction when developing a piece of art which is inspired on a landscape or location from the world. In my opinion, both forms are equally acceptable, having the most accurate copy of the reality a more academic and scientific value, whereas, the abstraction of it will have more value in terms of creativity and entertainment.

In this article we can read an interview published by Sound on Sound with Chris Watson, a true iconic sound artist fascinated with the sounds of nature who usually works as a sound engineer for documentaries with big companies like BBC or National Geographic. He’s also well know for his work as a musician with the classic band Cabaret Voltarie, a 80’s band which rises from the Synth Pop explosion movement from Sheffield in the UK, one of the most important synthesiser music movements ever.

In this interview he talks about field recording and how the techniques and gear has changed during the years. From tape recorders and microphones to cables and synthesisers, Watson focuses on the hazards of the different climates where has has been recording at and how this can affect the recording equipment. He explains, for example what certain types of cables are recommended to be used when he was recording in the Antartica, with temperatures of 40 below zero.

Personally I found interesting his research in spatial audio and how modern media like video games are taking advantage to this kind of techniques, he emphasises how games and virtual reality create a sense of spatial awareness and how interesting this is in terms of sonic art. The work of Chris Watson is really inspiring and without doubt one of those to follow closely.

In this second class in the unit Sonic Doing and Thinking, we’ve accompanied our lecturer Jose to Sydenham Hill Wood to experience a Soundwalk. During the walk some of us would be blindfolded and guided by a classmate and we swapped roles consequently to focus on the sounds from the environment.

The experience was really interesting and I achieved to perceive the sonic environment perfectly, I found sounds like the leaves shaking, the cracking of branches, lots of birds, vehicles and planes at a very far distance in the stratosphere. The birds made very interesting sounds and I also felt capable of feeling the distance at they were located or even the speed at they where moving in 360 degrees space, and I also enjoyed the sound of the planes which had a kind of flanger effect probably created by other echoes in the environment.

Here is a little recording from a fragment of the walk, recorded on an iPhone 13:

In this recording we can find the beautiful sound of the birds and specially our own steps, cracking branches and moving stones, and even my own breathing, something to what the same Hildegard Westerkamp refers on her page, can we move without making any noise?

I found these high frequency sounds really pleasant and I’ve done a little composition adding some music to the recording, I also recorded the Soundwalk to cassette tape to give a lo-fi texture and I processed it with Intellijel’s filter ‘Polaris’.

In this article Kamila Stasko-Mazur writes a deep analysis of the practice of the Soundwalk. The text explains the main objectives of the practice as well as describing the history of the Soundwalk from its origin, and talks about the most popular acts within the field. She states that a Soundwalk as a practice was performed in first instance by World Soundscape Project, an organisation dedicated to promote ‘acoustic ecology’ and delete ‘noise pollution’. The writer also focuses in depth in the work of Hildegard Westercamp and other practitioners like Francois Augoyard or Christine Kubisch with her ‘Electric Walks’, an electromagnetic version of a Soundwalk.

In terms of theory, Kamila encourages that a Soundwalk should increase our conscious listening in order to create awareness of the sonic environment. One of the goals of a Soundwalk is to develop improved sensorial skills, train our sound perception and raise your creativity to create complex soundscapes.

Hildegard Westerkamp’s Kits Beach Soundwalk

This second text is an article by David Kolber, he describes the work of Westerkamp in the beaches of Vancouver, where she often records her Soundwalk and other compositions. Hildegard is continuously creating a juxtaposition within the sounds in the coast being destroyed by the sounds of the city. These ‘unwanted’ noises are constantly annoying Hildegard, as she states ‘interferes with her listening. It occupies all acoustic space’. She is specially focused on the sound of the barnacles, as they create an interesting tinkling, ‘it is thanks to such products as “bandpass filters and equalizers” that those tiny voices and sounds may be heard again.’ I found interesting this idea as I use myself these kind of techniques to create pleasant high frequencies, in fact, in the text, David continues talking about high frequencies, and quotes Dr. Tomatis ‘high frequencies are sounds that charge our brain and give us energy’ I think this concept is very present in the world of ASMR ‘Autonomous Sensory Meridian Response’ a modern trend with adepts all around the world, and a practice that I like to experience, and that I always take into account when I create my own compositions.