breaks/motors (2001) 8'41"
One of my many jobs involves restoring/remastering recordings from the
1920s to the 1960s. One of the many fascinations I find in these
recordings is in the breaks between movements, where I usually go to
working out equalization for hum, hiss, squeal, rumble, etc. removal. I
took several of these "breaks," looped them in differing lengths, and
emphasized the "unwanted" components for this piece. The other sound
source came about when Brian Reinbolt asked me to look at a project he
working on which used a very tiny stepper motor. I loved the sound of
this tiny motor and made extensive recordings of it. These two ideas
sprang up around the same time, so I blended the two types of sound
sources (with equalization, convolving, phase vocoding, and granular
synthesis) into this composition. As with all my work, spatialization
a major interest. There is no active panning in this work as I recorded
the motor at a very close distance and in enhanced stereo.
is Co-director of the Center for Contemporary Music at Mills
College where she teaches recording engineering, composition and
electronic music. She also freelances as a recording engineer/editor.
Her works have received honorable mentions in Bourges (2X) and Prix Ars
Electronica Festivals and have been performed throughout North America,
Australasia, Japan, and Europe. She has received two Composer's Grants
and an Interdisciplinary Arts Grant from the National Endowment for the
Arts, and video grants from the Mellon Foundation and the Western States
Regional Media Arts Fellowships Program. Her works often contain visual
elements, most typically using video.
Her works are available on the Lovely Music, Music and Arts, Centaur,
CRI, Digital Narcis, Frogpeak, and Asphodel labels and the Mills College