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In January 2014, I organized an installation and performance series with Joel Clark at Nothing Space in Brooklyn. Incidentally, this all happened in the middle of the great Polar Vortex of 2014, right after New Year’s.
The previous Lady’s Harps were parasitic—they attached onto existing shelves and walls and used those limitations to determine string length, position, and the aesthetics of the instrument.
I had been searching for a new way to play the Lady’s Harp ever since the last version in 2012. The Lady’s Harp is not a self-playing sound installation—to make the Tinnitus Suites, I must be present to perform it—to stand behind the mixer and twirl the knobs that give the feedback its shape.
In June 2014, I was awarded a residency by Bowerbird and the Knight Foundation to stage a new version of the Tinnitus Suites in my hometown of Philadelphia. Never before had I been able to stage the Tinnitus Suites on this order of magnitude—Sanctuary offered me unprecedented access for rehearsals and experimentation.  I worked with a new ensemble featuring Adam Johnson, Gabriel Greenberg, and Noah Rush, whom I had met that year at Wesleyan.
I had used surplus transducers from Parts Express, but the stress of the sustained feedback would eventually burn out their voice coils. I built a 20 foot long collapsible frame, which can be reassembled and set on top of sawhorses. Previously, the pickups were handmade or salvaged (from craigslist, or from a solenoid air-valve array).

I went right for the biggest imperfection in the room—a steel I-beam which ran through the floorboards into the center of the gallery. Oliver had brought in a cache of old wood that he pulled from the rotting windowsills of his house, and hung them on the wall as a component of his visual work.
This culminated in 3 concerts in early October—two solo concerts, and one ensemble concert. An entire theatrical collaboration with Boom Bat Gesture began, manifested in performance in May, and had dissolved by the fall. This time around I used identical pickups—Chinese humbuckers from eBay, and I designed the hardware attachments to accept specific devices.
I glued together a chunk of wood to sit inside the I-Beam and function as a soundboard, and then anchored the harp-modules onto it. We were supposed to play in the Deep Listening Festival, but I got strep throat and had to cancel. I approached Spencer Wright, a talented engineer with a background in metalworking and industrial design. I initially considered making a new harp from some of the hundred derelict church pews which adorned the walls of the dilapidated sanctuary, but the building manager declined to let me make (semi)permanent modifications to the historic wood. Later in October, the final performance for the year occurred at Wesleyan University as a part of my thesis research.

He told me about 8020, a proprietary (and expensive) system of machined aluminum extrusion.
I had tried to mount another four strings across the room, on a drywall partition, but the tension of the strings destroyed the wall.
In building a version of Lady’s Harp, I often spend weeks in silence (hehehe jk), building the instrument and preparing for its music simply through imagination. I was running out of time and needed to finish installing in time for the first weekend of performances, so I screwed the remaining four modules right into the floorboards. The concert series was far too loud and our only way to avoid eviction would be to cancel all future events in the gallery.
But, when the gallery shuts down, or when your install window is dishearteningly small, the limits of installation call for practicality. But I do know that by placing objects on the strings, we were able to walk away from them and listen to their subtle shifts amidst the feedback.
It felt more like hearing what the system is doing, rather than trying to coax sounds out of it—less like playing, more like placing. Balancing the object is like setting a capo on a guitar, except that the object will dance along with the vibrating string.

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29.08.2015 admin

Comments to «Sound mixer tinnitus xanax»

  1. EMPORIO_ARMANI writes:
    Little ones-and adults-with occasions of stress escorted by about a dozen guards and a channeler.
  2. BABNIK writes:
    Far better but then, following 'basal level' to the point and hearing loss.
  3. BHB writes:
    That background noise in the hearing can also start i've had the intermittent.