Micro Sample with Massive Reverb

Here’s a technique that I stumbled across while experimenting. Sometimes I like to put a micro sample (a sample that is a fraction of a second in length) through a massive reverb. This particular sample is perhaps a tenth of a second of music from an old television commerical. When I do this it’s usually on its own track with lots of other stuff going on around it.

This example is the micro sample through the reverb alone so you can hear the texture that it creates. Most of the time I will run it through a high pass filter before it gets to the reverb, and in this case I’m also running it through a slowly modulating auto filter so that it has a slightly different timbre each time it occurs. Hearing this alone makes evident a high frequency overtone that starts to ring throughout the recording. You can hear the same sample in context in the track Electric Sheep that I linked in this post.

Micro Sample With Massive Reverb

 

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About John CS Keston

John CS Keston is an award winning transdisciplinary artist reimagining how music, video art, and computer science intersect. His work both questions and embraces his backgrounds in music technology, software development, and improvisation leading him toward unconventional compositions that convey a spirit of discovery and exploration through the use of graphic scores, chance and generative techniques, analog and digital synthesis, experimental sound design, signal processing, and acoustic piano. Performers are empowered to use their phonomnesis, or sonic imaginations, while contributing to his collaborative work. Originally from the United Kingdom, John currently resides in Minneapolis, Minnesota where he is a professor of Digital Media Arts at the University of St Thomas. He founded the sound design resource, AudioCookbook.org, where you will find articles and documentation about his projects and research. John has spoken, performed, or exhibited original work at New Interfaces for Musical Expression (NIME 2022), the International Computer Music Conference (ICMC 2022), the International Digital Media Arts Conference (iDMAa 2022), International Sound in Science Technology and the Arts (ISSTA 2017-2019), Northern Spark (2011-2017), the Weisman Art Museum, the Montreal Jazz Festival, the Walker Art Center, the Minnesota Institute of Art, the Eyeo Festival, INST-INT, Echofluxx (Prague), and Moogfest. He produced and performed in the piece Instant Cinema: Teleportation Platform X, a featured project at Northern Spark 2013. He composed and performed the music for In Habit: Life in Patterns (2012) and Words to Dead Lips (2011) in collaboration with the dance company Aniccha Arts. In 2017 he was commissioned by the Walker Art Center to compose music for former Merce Cunningham dancers during the Common Time performance series. His music appears in The Jeffrey Dahmer Files (2012) and he composed the music for the short Familiar Pavement (2015). He has appeared on more than a dozen albums including two solo albums on UnearthedMusic.com.

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