modified my tape loop guides to include nylon bearings, which allow for weaving a loop back and forth, to enable longer loop lengths in a more compact space.
condition: (as determined by the sixth junto project) select one distinct element from each of the three following recordings (1,2,3) and construct something new from them. (do not add any other sounds, though certainly use any sorts of processing that you might choose.) keep your finished piece to between two and five minutes. all three tracks are archival songs originally released on antique edison cylinders in the late 1800s and very early 1900s.
all audio selected from these antique cylinder recordings:
a conversation with the past, in three passes (one for each recording)
for edison cylinder recordings, electronics (effects pedals) and 1/4″ tape.
nearly there (david andree rework)
reworking ‘nearly there’ by marcus fischer as part of the disquiet junto project adding the following condition: created in single session, in two passes.
for recordings, acoustic guitar, violin, tape and spring reverb.
intend evolve (david andree rework)
sun body (david andree rework)
new life (david andree rework)
light into branches (david andree rework)
reworking tracks from ‘tiger flower circle sun’ by christopher willits as part of his remix project. these tracks were done in a period of a day. i used the stems provided by christopher willits and combined them with my approach to creating and layering live tape loops with additional real time acoustic guitar instrumentation with the intention of creating a new suite of works.
for samples, tape and acoustic guitar
played an improvised session with promethean k. frimsk recently. the intention was to record percussive audio demonstrations for a short run of contact microphone surfaces that will be for sale soon, but the session evolved into us just improvising off of each other for a while. the following are two excerpts taken from the session.
promethean k. frimsk : contact microphone surface, percussion, objects, toy piano, resonant filter.
david andree : acoustic guitar, contact microphone surface, brushes, objects, 2880, tape loop.
i have always been interested in building up atmospheric drones and have lately become obsessed with the traditional japanese instrument known as a shō. the free reed instrument is powered by breath and uses metal reeds tuned with wax attached to the bottom of 15 bamboo pipes (17 pipes total). the instrument traditionally serves the purpose of ‘freezing’ a melody into a kind of floating cloud for other instruments to occupy.
this audio work attempts to approximate some of the tonal qualities of the shō using a harmonium transitioning between the traditional chords ‘ge’ and ‘otsu.’ once an atmosphere of floating tones was created, improvised violin and acoustic guitar were interwoven using a stereo tape feedback loop and a closed tape loop.