Call for Power/field compilation #3

14_4_orig.jpgPower/field compilation #3 :: Call for Submissions :: deadline January 1, 2012 :: Track length 3-15 minutes preferred ::

Recordings are wanted for the third edition of the Power/field compilation. This series is dedicated to recordings made “in the field” with processing on-site – i.e., pedals, laptops, or strange acoustic phenomena in the intersection of power and environment. No post-processing besides basic trim edits and gain.

Traditional field recording captures ambient sound in various locations via microphone without any effects. Power/field recordings are field recordings made with effects processing units used on-site. The intent is to take experimental music practices outside of their traditional operating venues (composing studios and performance venues) and into the “field” (anywhere you don’t normally compose/record/perform music).

Aesthetically speaking, anything goes – drone, microsound, synth, ambient, harsh noise. The recordings can come from a wide variety of musical practices, and can be made with electronic, electrical, mechanical, and acoustic means. Harnessing the existing sound in a space is preferred over generating sound within a space – but the latter can work when the results align within the perspective of the series. It is suggested for all to listen to the first edition (link below) for examples of successful submissions.

Typical scenarios for successful works: microphone feeding into a pedal; contact mic fed into a laptop; sounds played in an environment and recorded via mics; lathe records, cassettes, and circuit boards left outside all winter long, then recorded in their deteriorated condition outside, a microphone rubbed against subway walls, a microphone set inside the whirlwind funneling into an air conditioner.

Typical unsuccessful scenarios: recorded freak folk / alt rock / post-war classical jams in someone’s living room or an underground chamber. Please listen to the tracks from the first edition to get a sense of the aesthetic intent behind the project.

There is an honor system on the basic rules: the recording must be made outside of the studio or the stage; no overdubs except on-site; no re-processing; no edits besides cutting off the beginning or end. The submission can be an excerpt of a longer take, and basic normalizing of the levels is fine. Track length 3-15 min preferred, multiple short tracks are fine to submit. Previously released tracks will not be considered.

The final project will be released March 2012 in an edition of 200. The first 2 editions each had 2x CDrs, as there were a ton of great submissions. Traditionally the discs are housed in screen-printed cardboard sleeves. A digital edition will be created in addition to the physical one.

The entire contents of the previous editions can be found here:

vol 1:
( the first track of Disc 1 is titled “\\\” but the slashes don’t come out right in an online directory)

vol 2:

Please submit everything online by Jan 1 2012. To prevent wasted CDrs, please upload your recordings (mp3s in the first round) to your own website, to a file sharing service such as yousendit, or soundcloud. I can also provide an FTP address if you aren’t able to upload it yourself. Once the final choices are made, I’ll need full resolution files (WAV / AIFF) uploaded by Jan 31 2012.

Send track(s), title(s), site location(s), equipment list(s), pictures of your setup environment, and any other info about yourself to: bob_AT_halfnormal_DOT_com

More info:

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Networked_Music_Review (NMR) is a research blog that focuses on emerging networked musical explorations.


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