Clipping was easily fixed and panning seemed easy until I sat down to do it, I based my projects off a very structured plan I had in my head and the prospect of changing that plan was actually quite daunting. When I started changing things up and playing them back they just seemed a bit 'off' to me, now in the later parts of my track this didn't bother me because that was my intention - everything is supposed to go wrong it's supposed to be off kilter a little bit. But I started playing around with just the smaller tracks that ones that are setting the beat/pace, they don't change in time they just change in position and in some cases pitch. After mastering and exporting I had a final listen to the piece before I imported it into Premier but something was missing, I noticed that in my attempt to make things spontaneous I had inadvertently taken all bass tones away from the left ear. Now whilst in my 'make things traditional' sense I wanted to go back and change it immediately but then I thought maybe this could be it's signature, something to make the piece unique?
Whilst I really don't believe that I started looking at the sources from 'Background Noise: Perspectives on Sound Art', maybe this is something that other people do? I read a lot around the use of space in exhibiting sound pieces and how the architecture of a room can make or break a piece of work. I listen to Le Monte Young (Mainly his non-experimental work I'm afraid, still interesting) [x x x], and rather infuriatingly couldn't find a working version of Achim Wollschieds Wallfeild a piece I think would have been very interesting to listen too especially since it's subject matter is so close to what I based this project on. I was also looking forward to hearing everyday sounds turned into tones, something very similar to what my first instinct was in regards to this project right at the beginning. The lack of video/audio documentation of any of the pieces I'm actively looking for is really annoying yet to an extent I can understand why they are not in the public domain, 'Background Noise' is a book that explains experimental sound is there to fill space rather have space to accommodate sound. A lot of the artists seem to spend more time building the stage than working on the performance which in hindsight is probably the best way to do it, if you don't know what you are working with how do you make something that compliments it accordingly.
Now I'm not sure of the acoustics of the room this piece is going heard, nor would I know what to do with that information if I had it. What I do know is that when listening through headphones the imbalance my piece currently has doesn't match the narrative I had set out for it, so I believe it's going to change.
However here is my piece as it currently stands, it will change a bit before hand in day and I'm going to try and grab another tutorial with Sebastian to see if he has anymore advice on how to improve it before hand it.
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