Talk about music gear for noise music
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Last edited by WhiteWarlock on Tue Dec 04, 2018 12:25 pm, edited 2 times in total.
During the early 1950s they and their studio were hired by John Cage for his first tape work, Williams Mix – Louis and Bebe recorded over 600 different sounds, cutting, arranging and them to create a four and a half minute piece. The Barrons moved on to produce music and sound effects for several short experimental films, scoring three of Ian Hugo’s short films based on his wife Anaïs Nin writings, the most notable being Bells of Atlantis (1952). Their next big project was to provide incidental music to a conventional orchestral score for Forbidden Planet, however the Barrons ended up scoring the entire film, along with many of the film’s sound effects. Louis designed individual sound generator circuits for particular themes and motifs, rather than using standard sound generators – this was an innovative approach to composition, where each circuit had its own characteristic voice. It took them 8 months just to record the raw sounds and a total of three years to complete the soundscore. The scoring for Forbidden Planet blurred the boundary between sound effects and music so they became indistinguishable from one another – the Barrons had a vast new electro-acoustic territory to explore and began laying down the lines for the future of electronic and dance music.
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