Dhomont’s Foret Profonde is a very intriguing album that has a perpetual sense of change and fast-paced motion. The sounds in this piece seem to be very fluttery, and bouncy. Often seems like there are gates or delay put on specific sounds that when triggered create that rushed feeling.
This album plays around with human and natural sounds and alters them in a way that makes the two very interactable. It feels like the purpose of this album was to agree upon a middle ground for both humans and nature for co-existence. It's almost as if he alters the sounds, which are apparent to the listener, but he wants the listeners to think that he didn't alter them, but processed them instead.
Track number 3: Chambre interdite is a very good example of that. It begins with a rumbling, which appears to be gated and thus sounds very fluttery. After that, the animal-like gasps are altered in a way that sounds otherworldly. The combination of gating the sound and altering with the pitch and phase is allowing the composer to really achieve the kind of mood and goal they're after. The talking of the humans are also placed in careful spots, for example at 3:42, the talking of the female voice is placed right on the rise of the particular choir-like chord. The panning technique used for the flying gasps was a very good use of the stereo image and F-B distribution. I tried listening to the piece on headphones for a better stereo image, and I the extreme panning really made the gasps move around in the stereo space.
Also, kudos to the composer for the clean sound of the creaking door. When listening to on headphones, I actually thought someone came in through the door, even though I knew that the door does not creak.
The Lopez reading made me really think about the sounds and what the sounds mean. "Forests—what we tend to refer to as the sound of rain or wind might more aptly be called the sound of plant leaves and branches." This quote just locked in with me and I kept thinking about it for a long time. I couldn't help but think about so many other sounds which we say are sounds of one particular thing, but actually are produced by a completely different source.
This album plays around with human and natural sounds and alters them in a way that makes the two very interactable. It feels like the purpose of this album was to agree upon a middle ground for both humans and nature for co-existence. It's almost as if he alters the sounds, which are apparent to the listener, but he wants the listeners to think that he didn't alter them, but processed them instead.
Track number 3: Chambre interdite is a very good example of that. It begins with a rumbling, which appears to be gated and thus sounds very fluttery. After that, the animal-like gasps are altered in a way that sounds otherworldly. The combination of gating the sound and altering with the pitch and phase is allowing the composer to really achieve the kind of mood and goal they're after. The talking of the humans are also placed in careful spots, for example at 3:42, the talking of the female voice is placed right on the rise of the particular choir-like chord. The panning technique used for the flying gasps was a very good use of the stereo image and F-B distribution. I tried listening to the piece on headphones for a better stereo image, and I the extreme panning really made the gasps move around in the stereo space.
Also, kudos to the composer for the clean sound of the creaking door. When listening to on headphones, I actually thought someone came in through the door, even though I knew that the door does not creak.
The Lopez reading made me really think about the sounds and what the sounds mean. "Forests—what we tend to refer to as the sound of rain or wind might more aptly be called the sound of plant leaves and branches." This quote just locked in with me and I kept thinking about it for a long time. I couldn't help but think about so many other sounds which we say are sounds of one particular thing, but actually are produced by a completely different source.
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