Music for Kalimba and Electronics
Technical notes on the production of Sanza Time.
All of the sound sources on Sanza Time are acoustic. Aside from birdsongs and water sounds, any digital sampling technology utilized (MOTU MachFive3 and Samplr on an Apple iPad 2) used sounds derived from acoustic sources played by Halim and I (mostly kalimba)
With the exception of Hugh Tracey electric kalimbas, all sounds were recorded with an AKG Perception 420 large body condenser mic into a MOTU 828 Mk II interface and an Apple MacBook Pro Running MOTU Digital Performer 8. All processing was within the computer using plug ins by Glitchmachines, Inear Display, Eventide, Unfiltered Audio, MOTU, Blue Cat, Audio Thing, and The Sound Guy. Mix and plug in control was via an Apple iPad 3 running Lemur.
The sonic expressions of the album helped me discover my resonance. I am walking, suspended in time on different spheres, surrounded by clouds. Birds fly all around while I travel strange seas, rising and falling between the crests and troughs of the waves. I am propelled and ejected into the newly undefined space only to be examined by an alien intelligence who came on a silent wind in response to the ancestors voices of anguish.
Halim El-Dabh April 2016
These recordings represent an aural dichotomy:
Acoustic vs. Electronic, Field Recording vs. Studio, Analog vs. Digital, Ancient vs. Modern. We, as artists, walked the thin line between the extremes, weaving in and out as if drunk on the paradoxical juxtapositions between them. It is an honor to have embarked on this journey with my dear friend Halim.
Ron Slabe April 2016
Halim El-Dabh pioneered to become the father of electronic music in 1944 through his electronically manipulated “Ta’beer Al-Zaar”, aka “Wire Recorder Piece” which invoked sound that invited the ancient spirit world. He started composing when he was 11, using cluster sound against melodic materials. Halim El-Dabh is an international composer who has taught at Kent State University, Howard University, and Haile Selassie University. He has traveled the world for research, composing and performance.
More at: halimeldabh.com
Ron Slabe has been making electronic music since the late 70's. His work has included sound design for theater, dance, and performance art as well as performing live music in various projects such as Pyrosonic and Whorlweaver. He has been crafting electronic soundtracks for multimedia and fire performances since 1990. A seeker of unusual sonic atmospheres, he will hit just about anything to find out what it sounds like. Using an extensive arsenal of electronic equipment and found objects, he weaves a dense web of sound designed to evoke a variety of emotional states.