Digital Piano
http://www.alansondheim.org/mtl265.jpg
http://www.alansondheim.org/piano1.mp3
http://www.alansondheim.org/piano2.mp3
Azure has a new Casio Privia PX-160 digital piano. I recorded
two short pieces on it, with a Zoom H4 behind me, about 2 meters
away. I wanted to pick up room noise, the air conditioners in
the building, whatever traffic sounds might be present. I wanted
these short pieces to sound solitary. I wanted them to sound as
if they were somewhere near the blues but somewhere else nearer
the pain of AmericanLife. So I set them thus. There's also
construction in the building. Noise is constant here, day in,
night out. Constant. It's impossible to hear anything clearly
except through a wash of derelict sound. It's just built that
way and it builds me that way as well. It's anchored to our
lives here, this sound. So now you can hear it too, it permeates
everything. It's not loud, but it's not the sound of the city.
It's the sound of collapse of AmericanLife. Did I already say
that? I already said that.
The piano can play different temperaments, different intervals.
It can be set for non-european scales. It can be set for
natural. It can play strings and concert simultaneously. It can
adjust for different touches. Internally, it possesses analog
hammers that connect digitally in a variety of ways. Even with
the piano turned off, you hear the hammers. You always hear the
hammers. They're not noise, they're not loud, but they're the
sound of production. The sound of production of sound. Analog
instruments always have these undercurrents, there's always
something else going on, something contributing to, forming, the
sound you've always wanted to hear. And you may not realize it,
but the sound you've wanted to hear is always accompanied by
these other sounds, which you've always wanted to hear as well.
Which you've always expected to hear. As they make music with
their sounds.
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