Intro – Covering the Art
The Silence Bureau – Phase 4
AWWA – Blck0175
Fluffy Porcupine – Return of the Files
jfox – mp4-02
Jabberwocky – Liquid/Solid (Gear Metal)
Controlled Dissonance – What Have We Done To Number Nine?
Hyperdriver – index.php.htm
AWWA – Blk00091a0023
SC1 – Torquedom
DANADAX – Fields of Unconsciousness Astral Bodies
AWWA – Blck0199a0003
Bending The Binary – A compilation of music whose creation utilizes databending techniques. Databending – or altering raw data to produce sound or influence the interpretation of existing sound files – is a vast territory of sound design that can be implemented in a multitude of ways, each providing its own unique result. Bending The Binary is a free compilation devoted to illustrating some of these results.
Available on Archive.org
Many different techniques were employed in the creation of this compilation. Here are some of the artists explanations of their own techniques.
“…all of them were simply visual files converted into sound files, and saving them “as is”. No further manipulation was done, after they were converted into sound files. A whole lot of experimentation, manipulation and planning went into creating the visual files and figuring which ones worked best for these conversions. All of the fiddling took place pre-sound conversion.”
“To do this track I used a technique that I have used before in noise pieces. I had previously converted picture files to raw wave (music) data but this time decided to download the homepage of the Intelligent Machinery website and use that. This data was imported into Sound Forge as a “raw” file then saved as a conventional windows “wav” soundfile.
I stretched the file to make it a little longer and also to give it a grainy and less harsh sound. I then made three copies. One was tuned down an octave while the other two were tuned up one and two octaves respectively. The first one was kept at its original tuning.
Two of the samples were stretched again and effects were added to these two files. All start and end points were then edited to make sure they looped without glitches. All four samples were then loaded into my phrase sampler.
The track was then played and recorded live into Sound Forge. I did three takes and the submitted track was the second one.”
“What Have We Done To Number Nine started off as a wav file of a live performance I had done months prior. I encoded an mp3 version of the file and made two copies of that. Each copy was opened in NotePad and I removed random chunks of the code and resaved the files. I then took the original wav file and opened it in NotePad and removed random chunks of code. I took the resulting files and dumped them in a multitracker where I arranged them, tweaked volume levels and added some reverb.”
The Silence Bureau
“This track is composed of various toy drum sounds, a chat room experience on Yahoo, crowd noises found on a porn ”spring break” type video, and other assorted noise objects including manipulations of visual images transformed to sound with CoagulaLight. It also includes raw ambient works I”ve had around for some time and combined with the rest of the experience. Call it soup for the ear.”
1. take an original track > .wav
2. convert .wav > .mp4
3. extract .mp4 > .AAC
4. edit in hex editor > .AAC
5. import .AAC into audacity as raw data > .wav
6. import .wav into sound 2d warper > .bmp
7. import .bmp into photo shop . .bmp
8. import .bmp into sound 2d warper > .wav
9. go through all the audio files and select the parts you like and make loops.
10. put loops into Live, use time stretching, granular delay, filters and reverb.
11. mix live and record.
12. send file to john ingram “