Ian Whillock - that thing in your sp(ea)-ke(rs) - perusal score

that thing in your sp(ea)ke(rs) for snare drum and electronics

Ian Whillock (2020)

Š 2020 ianwhillockmusic

that thing in your sp(ea)ke(rs) program note In the United States, electrical equipment and appliances hum at a frequency of 60hz. This includes lighting fixtures, air conditioning units, your fridge, and your speakers. When these sounds are ampified, each source creates an extremely complex but individual humming sound, each based around 60hz. The snare drum has similar sonic characteristics, wherein the fundemental tone of the drum is masked by its noisy overtones produced by the snare wires. This relationship between the humming electronic equipment and the snare drum creates the main drama of the work. Other sounds from electrical equipment are also used, such as the glitching of bad input jacks, faulty cables, and feedback from improper wiring.

On a more personal level, this piece deals with some inner frustratoins with my own hearing decline. After years of drumming, rock concerts, and just listening to music too loud, I have developed a pretty bad case of tinnitus: a constant ringing and whooshing sound in my ears. The overall character of this piece aims to replicate and explore that expereinece. This lead to the title: that thing in your sp(ea)ke(rs).

equipment requirements

examples given are suggestions, similar equipment may be used electronics • transducers: Daytonaudio DAEX25 • speaker wire • ’’male to ” male cable • ” male to ” female adapter • 1 amp for transducers: Kinter K3118 • 1 stereo pair of speakers • 1 mono speaker, may be same or different than stereo pair.

• 1 small diaphragm condenser microphone: Neumann KM184 • audio interface with at least 4 multichannel outputs: Focusrite Scarlett 4i4 • MIDI keyboard with sustain pedal

snare preparations • extra snare wires: 20-strand • aluminum foil, crumpled and partially re-flattened to have a bumpy texture mallets • soft timpani mallets • 1 wire brush • 1 nylon brush

stage plot

cable routing

MIDI keyboard interface/ computer

out 1 out 2 out 3 out 4

in 1

spk. L spk. R trans- spk. C ducer

snare mic

speaker R

speaker L transducer amp player

sustain pedal aluminum foil

snare transducers

extended techniques end of event 5: snare dampening with hands

mic

speaker C (snare amplification)

audience staging instructions this piece should be performed in as dim lighting as possible, preferabally in darkness, with minimal visual distractions. this piece is best performed memorized.

for video tutorials on dampening and brush tremolo, visit ianwhillockmusic.com/tutorials

snare setup the snare drum should be tuned so that the fundemental resonanationg frequency is 160hz. (E3 -4 cents) crumple and partially re-flatten aluminum foil. fasten close to performer on left side with tape. place the transducers on the top head, ideally fastend with adhesive.

notation guide and performance notes 0:14

above line: play very close to mic

/

wz f

underneath line: play near close edge

Ĺ’

w z

ppp

p

4

mp

^

time into cue (see patch)

x

sf

loud hit with brushes significant vertical event

gradually transition between playing zones/technique

cue # (change with sustain pedal)

performance note A fundemental parameter of this work is the distance from the microphone to where the snare drum is played. This is indicated by the vertical positioning of the notes and symbols. Symbols placed higher above the staff line call for playing very close essentially underneath the microphone. For symbols placed below the staff line, play near the edge away from the microphone. This will result in an exploitation of the proximity effect, or the change in timbre when depending on the distance between the microphone and source.

Due to this amplification, the performer must be sensitive to the dynamic implications of the proximity affect. The dynamic markings refer to the resulting dynamic with amplification. For instance, a forte close to the mic is likely played at the “acoustic� level of mezzo-forte (or less), but is enhanced by amplification to be at the forte level.

that thing in your sp(ea)ke(rs) Ian Whillock

°

snare

/

soft timpani mallets snares off sustained, multiple bounce roll

wz

f

0:25

0:45

gradual transition to double stroke roll

wz

wz p

1:10

1:05

wz

f

p

match electronics speed ( q = ca.135 )

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R

R

L

L

1 electronics

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transducers

1:25

2:00

°/ œ œ œ œ R

f

R

L

L

gradual accel. into multiple bounce roll

2:10 slowing hand speed, keep multiple bounces

wz mp

œz

R

2:20 match electronics texture: a stuttering shortening bounces... rhythm, w/ random ornaments, bounces etc.

œz L

p

¢ © 2020 ianwhillockmusic

œ œœ œ œ œœ pp mostly under electronics, emerging occasionally

that thing in your sp(ea)ke(rs)

2

°/

3:00

2:35

2:25

matching electronics with steadier swells

to dead strokes

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repeat sim. figure ca. 10-40”. varying speeds, adding ornaments occasionally

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pp

mp

2

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ca. 0:10-0:45

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ca. 0:15

,

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3

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p

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to 1 wire brush, (LH) 1 nylon brush (RH)

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0:25 gradually turn snare on

0:40