I Am Sitting in a Room (1969)(en.wikipedia.org)
en.wikipedia.org
I Am Sitting in a Room (1969)
https://en.wikipedia.org/wiki/I_Am_Sitting_in_a_Room
21 comments
This is one of my all time favourites- the sounds that end up being brought to the surface as the tape is recorded over itself are really haunting.
If anyone's interested but not enough to listen to the whole thing- listen to the first half a minute and then the last!
If anyone's interested but not enough to listen to the whole thing- listen to the first half a minute and then the last!
> If anyone's interested but not enough to listen to the whole thing- listen to the first half a minute and then the last!
This is what I always do when showing other people this song. A 20 or 40 minute track is not an easy sell lol, especially this repetitive. But showing them 20 seconds from the start, middle, and end always gets a wow. Half of them usually want to hear the whole thing after that. And half of those turn it off after 5 minutes haha.
This is what I always do when showing other people this song. A 20 or 40 minute track is not an easy sell lol, especially this repetitive. But showing them 20 seconds from the start, middle, and end always gets a wow. Half of them usually want to hear the whole thing after that. And half of those turn it off after 5 minutes haha.
A classic. I did a take on that with AI super-resolution algorithms: https://rybakov.com/project/im_sitting_in_ai/
If you're interested in this piece, and interesting music writing generally, check out this book by Paul Morley...
https://en.wikipedia.org/wiki/Words_and_Music:_A_History_of_...
"Words and Music: A History of Pop in the Shape of a City is a 2003 book charting the history of popular music, by the music journalist and cultural commentator Paul Morley. Its style takes the form of a robotic Kylie Minogue traveling, with Morley, in a "cyber-car" toward a city of "sound and ideas". The starting points for this history of popular music are Morley's favourite pieces at the time of writing, Kylie Minogue's electro-pop song "Can't Get You Out of My Head" and Alvin Lucier's experimental "I am sitting in a room" "
Quite an original book as you can probably tell just from the description!
https://en.wikipedia.org/wiki/Words_and_Music:_A_History_of_...
"Words and Music: A History of Pop in the Shape of a City is a 2003 book charting the history of popular music, by the music journalist and cultural commentator Paul Morley. Its style takes the form of a robotic Kylie Minogue traveling, with Morley, in a "cyber-car" toward a city of "sound and ideas". The starting points for this history of popular music are Morley's favourite pieces at the time of writing, Kylie Minogue's electro-pop song "Can't Get You Out of My Head" and Alvin Lucier's experimental "I am sitting in a room" "
Quite an original book as you can probably tell just from the description!
A take on it from 2010 but with YouTube compression: https://www.youtube.com/watch?v=icruGcSsPp0
And MKBHD did a take on it in 2019 again with YouTube compression: https://www.youtube.com/watch?v=JR4KHfqw-oE
And MKBHD did a take on it in 2019 again with YouTube compression: https://www.youtube.com/watch?v=JR4KHfqw-oE
Some time ago they had this recording featured in the (then new) modern wing of the Art Institute of Chicago.
It might have been the 40+ minute version mentioned on Wikipedia (I certainly don’t remember) because I think I stood there for maybe 30 minutes listening. I caught it somewhere near the beginning and it was just so cool to listen to.
It was also fun to see the people who came and went and those who stayed there for as along as I did - or longer.
Edit: unrelated to this piece, but at or around the same time the same gallery also featured this “delightful” and disturbing piece: https://www.artic.edu/artworks/146989/clown-torture
It might have been the 40+ minute version mentioned on Wikipedia (I certainly don’t remember) because I think I stood there for maybe 30 minutes listening. I caught it somewhere near the beginning and it was just so cool to listen to.
It was also fun to see the people who came and went and those who stayed there for as along as I did - or longer.
Edit: unrelated to this piece, but at or around the same time the same gallery also featured this “delightful” and disturbing piece: https://www.artic.edu/artworks/146989/clown-torture
Lucier had a speech impediment so this piece was a sort of personal challenge/experiment for him.
Also, check out Lucier's Music On A Long Thin Wire. He used a power amp to run an audio from a signal generator into a wire and the wire sits in the field of a very strong magnet and vibrates, and the sound is extracted from piezo contact mics at each end of the wire. Very interesting stuff.
It is a part of the inspiration for the instrument I build and play, the Electroduochord, that uses a rotary magnetic bow.
Also, check out Lucier's Music On A Long Thin Wire. He used a power amp to run an audio from a signal generator into a wire and the wire sits in the field of a very strong magnet and vibrates, and the sound is extracted from piezo contact mics at each end of the wire. Very interesting stuff.
It is a part of the inspiration for the instrument I build and play, the Electroduochord, that uses a rotary magnetic bow.
Music on a long thin wire is also very pleasing in a meditative way. A drone with what could be described as a rich “overtone cloud”. I once showed it to a friend who is a massage therapist and they would use it for sessions.
Check out the works of Australian composer Alan Lamb. He has done some incredible recordings of vibrations on telephone lines.
Look Mum no Computer did two versions of this:
https://www.youtube.com/watch?v=WIlT7U0ILu4
https://www.youtube.com/watch?v=WIlT7U0ILu4
I thought I had seen every single video on that channel.
For those interested in this approach to creation, highly recommend a journey back to musique concrète and continue forwards through all the genres and subcultures it has branched into today. Exploration of noise, atonal sound, and all the various realms of sound art and not-music is an ear opening, often missed, experience.
Agreed. I studied electroacoustic music at Simon Fraser in the late 90s, and even though I decided not to go into music as a career, the classes and the school's collection of rare recordings were a treasure trove.
A couple of questions that come to mind:
• Is it possible to go backwards? Obviously not from the later iterations of this loop — all useful information has been lost — but from the first couple of iterations, say, is it possible to recognize "these are probably the room's resonant frequencies" and de-emphasize them?
• What would the experiment be like if each round involved re-playing the tape in a different room (one with presumably different resonant frequencies)? Would it sound significantly different / would there be some possibility of regaining information after more iterations than in the former case?
• Is it possible to go backwards? Obviously not from the later iterations of this loop — all useful information has been lost — but from the first couple of iterations, say, is it possible to recognize "these are probably the room's resonant frequencies" and de-emphasize them?
• What would the experiment be like if each round involved re-playing the tape in a different room (one with presumably different resonant frequencies)? Would it sound significantly different / would there be some possibility of regaining information after more iterations than in the former case?
Some form of equalisation is applied in most audio systems. Ideally this should correct the system and transducer response only. Attempting to EQ a room will make things worse as the response will differ across listening positions.
For addressing room resonance, physical acoustic treatment (bass traps, diffractive and absorptive materials), or in the case of new construction optimising the structure of the room itself is the general approach, with DSP used to augment this.
There's an interesting intersection of this once you start diving into the world of active acoustics too. In the venue space you have systems like Meyer Constellation or L-ISA that use a distributed set of speakers and microphones to be able to change the room acoustics in real-time, or even emulate a different space.
For addressing room resonance, physical acoustic treatment (bass traps, diffractive and absorptive materials), or in the case of new construction optimising the structure of the room itself is the general approach, with DSP used to augment this.
There's an interesting intersection of this once you start diving into the world of active acoustics too. In the venue space you have systems like Meyer Constellation or L-ISA that use a distributed set of speakers and microphones to be able to change the room acoustics in real-time, or even emulate a different space.
For the first question, kind of. In theory yes, in practice people like to move so it depends on how accurate it needs to be.
It's easier to do with white noise than a sample. But ideally you would use an "impulse" (an extremely short pulse of sound) in a dead-silent room. You play the impulse and record that along with any tailing reverberation/resonance. This it typically used to "capture" the audio response of something like a room or speaker cabinet. (You can purchase Impulse Responses of Abbey Road Studios, or famous cathedrals. It can even capture a speaker response and is often used by guitarists with digital setups). But you could invert it to remove resonance.
Keep in mind, even moving a millimeter will slightly change the phase of the resonances and thus the resulting response. So this would only work perfectly to remove a room response from a fixed speaker and a fixed microphone. But some mixing boards for live shows have an "anti feedback" system that works off this principle. It's not perfect, but it's good enough to prevent a microphone screech.
For 2, That's an interesting thought. My guess is that it would take longer to become inaudible, and be much more "diffuse". Like being recorded in a cave or room with very complicated geometry. It's almost like how most digital reverb effects work. They tend to pass sound through multiple layers of delay (aka echo) while applying phase shifting. Sometimes they are designed to resonate, but usually they are designed so all the delay layers conflict and don't resonate too strongly in any given frequency. Part of why it resonates in such a pronounced way is the fact that it's a fixed room and almost certainly rectangular (Which you may notice many recording or mixing studios tend to avoid being a "box").
It's easier to do with white noise than a sample. But ideally you would use an "impulse" (an extremely short pulse of sound) in a dead-silent room. You play the impulse and record that along with any tailing reverberation/resonance. This it typically used to "capture" the audio response of something like a room or speaker cabinet. (You can purchase Impulse Responses of Abbey Road Studios, or famous cathedrals. It can even capture a speaker response and is often used by guitarists with digital setups). But you could invert it to remove resonance.
Keep in mind, even moving a millimeter will slightly change the phase of the resonances and thus the resulting response. So this would only work perfectly to remove a room response from a fixed speaker and a fixed microphone. But some mixing boards for live shows have an "anti feedback" system that works off this principle. It's not perfect, but it's good enough to prevent a microphone screech.
For 2, That's an interesting thought. My guess is that it would take longer to become inaudible, and be much more "diffuse". Like being recorded in a cave or room with very complicated geometry. It's almost like how most digital reverb effects work. They tend to pass sound through multiple layers of delay (aka echo) while applying phase shifting. Sometimes they are designed to resonate, but usually they are designed so all the delay layers conflict and don't resonate too strongly in any given frequency. Part of why it resonates in such a pronounced way is the fact that it's a fixed room and almost certainly rectangular (Which you may notice many recording or mixing studios tend to avoid being a "box").
This piece is similar to Steve Reich's 1966 piece called "Come out".
https://en.wikipedia.org/wiki/Come_Out_(Reich)
https://en.wikipedia.org/wiki/Come_Out_(Reich)
This is one of my favorite pieces of audio, it was very influential to me when I first encountered it. For this comment I was trying to think of what it "taught" me that made it so influential, but I think it's actually because of what it made me forget, or reject.
I've always wanted to try to do a live version of this at an indoor noise or experimental music show. I'd use a shorter quote so I could get the same number of feedback cycles in a 15 minute set as his 40 minute version.
The fun part would be getting the entire audience to be silent for 15 minutes, but inevitably people and things would make sound and get picked up in the feedback loop. And you would end up with a pretty complex wall of sound by the end. Or maybe someone starts screaming into the microphone nonstop and ruins the whole set. While I hope that wouldn't happen, the chance it could is part of the fun.
Another "similar" work people might enjoy this is William Basinki's "The Disintegration Loops". This youtube link is just the first song, there are 4 in total but this is my favorite.
https://youtu.be/mjnAE5go9dI?si=KmoBu7SlY-XymGS0
It's a similar concept but for entirely different reasons. Rather than being an idea Basinski set out to capture, as Lucier did, it was an unexpected event he decided to pursue for several weeks.
Basinski was digitally recording some tape loops he had recorded about 20 years prior, and many of them were in very poor condition. Sometimes as he played back a tape loop, the ferrite coating would flake off of the plastic tape. Not only did that create a variety of noises that often sound like a soft crackling or puffs of noise, but each repetition of the loop would have less and less ferrite on it and thus decreasing fidelity and sometimes entire gaps in the audio. The fact that ferrite doesn't scrape off evenly, but sometimes in bursts and sometimes none at all creates a sort of progression in the song. Instead of building up like "I am Sitting in a Room", the sound decays into an eventual hum and sputter. A reverb effect is added and turned up gradually.
Like "I Am Sitting in a Room", it's about taking a short initial loop and letting physics compose the rest of the song. But it's destructive instead of constructive (and yet somehow the destruction becomes a constructive element). The initial sample choices are wonderful and the luck in how the tape falls away is perfect. Also IMO the fact that this could never be reproduced is just cool (and somehow comforting?).
I've always wanted to try to do a live version of this at an indoor noise or experimental music show. I'd use a shorter quote so I could get the same number of feedback cycles in a 15 minute set as his 40 minute version.
The fun part would be getting the entire audience to be silent for 15 minutes, but inevitably people and things would make sound and get picked up in the feedback loop. And you would end up with a pretty complex wall of sound by the end. Or maybe someone starts screaming into the microphone nonstop and ruins the whole set. While I hope that wouldn't happen, the chance it could is part of the fun.
Another "similar" work people might enjoy this is William Basinki's "The Disintegration Loops". This youtube link is just the first song, there are 4 in total but this is my favorite.
https://youtu.be/mjnAE5go9dI?si=KmoBu7SlY-XymGS0
It's a similar concept but for entirely different reasons. Rather than being an idea Basinski set out to capture, as Lucier did, it was an unexpected event he decided to pursue for several weeks.
Basinski was digitally recording some tape loops he had recorded about 20 years prior, and many of them were in very poor condition. Sometimes as he played back a tape loop, the ferrite coating would flake off of the plastic tape. Not only did that create a variety of noises that often sound like a soft crackling or puffs of noise, but each repetition of the loop would have less and less ferrite on it and thus decreasing fidelity and sometimes entire gaps in the audio. The fact that ferrite doesn't scrape off evenly, but sometimes in bursts and sometimes none at all creates a sort of progression in the song. Instead of building up like "I am Sitting in a Room", the sound decays into an eventual hum and sputter. A reverb effect is added and turned up gradually.
Like "I Am Sitting in a Room", it's about taking a short initial loop and letting physics compose the rest of the song. But it's destructive instead of constructive (and yet somehow the destruction becomes a constructive element). The initial sample choices are wonderful and the luck in how the tape falls away is perfect. Also IMO the fact that this could never be reproduced is just cool (and somehow comforting?).
Edit to add link to YouTube of the recording: https://m.youtube.com/watch?v=fAxHlLK3Oyk