condition: (as determined by the fortieth junto project) create a unique performance as a third part to accompany kenneth kirschner (piano) and tawnya popoff’s (viola) duet “june 5, 2012 – iii.” you cannot change the existing audio. the finished work should have a duration between two and eleven minutes.
process: after listening to the track one time through, an improvisation for acoustic guitar was recorded in response on open reel tape in one pass with no overdubs, with the intention to at first follow then lead.
for acoustic guitar, resonant filter, home-made tape echo, modified reel-to-reel tape machines, tape loops
condition: (as determined by the eleventh junto project) make a field recording of a rhythmic sound. use this recording as the main rhythmic element in your track while adding any additional elements. duration should be between 2-5 minutes.
process: field recording made of the asynchronous rhythms of passing traffic from under a freeway overpass in minneapolis, mn. additional performances of acoustic guitar and violin were added in two passes (one for each instrument), recorded on to 4-track open reel tape.
for field recording, acoustic guitar, violin, spring reverb and tape loops
condition: (as determined by the eighth junto project) you will select a single sentence (or extended, self-contained clause) from chapter 11 in the autobiography of benjamin franklin. you will use that recording as the sole audio source material in your work. at some point, the sentence/clause must be comprehensible to the listener. you will not add any other sounds. duration must be between two and five minutes.
process: selected sentence was read by kara andree and recorded to a dictaphone. the dictaphone was then used for live play back which was processed using electronics and layered on a pair of modified reel to reel recorders with closed tape loops.
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.