Tue Feb 22 2022 21:30:00 GMT-0800 (Pacific Standard Time)
As I mentioned in the last blog, I'm taking a zoom course on Composing Experimental Music, we have optional "homework" assigned -- which is really a set of flexible techniques to experiment with and explore timbre.
In class, Jamie demonstrated several means of exploring amp feedback width stringed instruments (including the immediately recognizable autoharp!), and I really don't have any viable stringed instruments right now. I really wanted to make one out of scrap wood and rubber bands, but time didn't afford that this cycle (I hope to revisit sometime soon). It occurred to me that the springs inside the spring reverb tank might behave a little bit like oddly shaped "strings", so I performed some feedback experimentation.
In this experiment, I left the reverb tank input open, so all sound was internally generated through mechanical vibration of the springs -- either through externally tapping with hand or drumstick, or by the speaker vibrations resonating with the coils. This is what I had really hoped to explore.
I absolutely LOVE the industrial echoing machinery sounds of the spring reverb, but I wasn't going for that this time around.
I got some interesting resonances by playing with various effects settings and modulating the position of the tank and riding the effects controls (mostly volume).
From this experiment, I have put together one rushed/stupid video and one clip of excerpts.
I later set the amp on its back and had the tank sitting on the mesh facing down/vertical. This allowed me to adjust positions while being more able to monitor the effects controls with two hands. I worked with several varied effects modes, but mostly used the downward pitch shift in hopes of getting a lower frequency bass response and reducing the high-pitch static feedback tone that everybody can picture in their head right now.
It was a much longer session, but here are several edited excerpts:
Direct link is here: Homework 02b
I am pleased with the resonant tones/outcome of this experiment, and I believe that additional exploration with a bass cabinet or feeding back through a transducer (possibly through mechanical linkages of odd varieties) could yield even more interesting timbres.