Paul Vosper: Technical Artist

Containment (June 2020)

Another in a series of experimental sound studies.

” … set another patch in motion and eventually record that mixed with what you had — mix the new one — with what you had on the old one, either to do it over the top of it or to dovetail or something like that.“

”One thing that I discovered that I didn’t expect to find is that I had this idea, like a sketch pad, and then I could take a photograph of it, which is the audio, the recording of it. And I’m listening, and I think ’uh, God — what if I play against that‘. So then I began to play against that and realize the process. I could really build this thing back and forth, but it meant a whole lot of overdubbing. But that’s what I did. So I began to be able to play duets with myself, and things like that.“

– Morton Subotnick, on recording Silver Apples of the Moon

I started with a simple desire to add regular divisions to irregular rhythms by swapping the clock tempo computer I had been using for a basic clock divider. I also wanted to move away from sequencers and use rhythmic CV sources and a quantizer instead. But what really changed was how I recorded the piece; instead of capturing a single performance with no overdubs, I laid down a dozen tracks then spliced them together on a computer. The process of recording, listening and reacting was novel (for me). I learned a lot and realized the potential to learn a lot more through this technique.

The whole point of study is to learn how you should have done it.

”In the eyes of those who anxiously seek perfection, a work is never truly completed — a word that for them has no sense — but abandoned; and this abandonment, of the book to the fire or to the public, whether due to weariness or to a need to deliver it for publication, is a sort of accident, comparable to the letting-go of an idea that has become so tiring or annoying that one has lost all interest in it.“

– Paul Valéry