In this sound composition I focused on using the sounds of the wind in conjunction with the sound that most caught my attention, which was the sound of the mill's jars. 

In this composition we can hear the sound of the wind resonating in the jars placed on the mill's blades and my aim was to create a journey of the wind entering the jars and making that characteristic sound and combining these sounds to create a kind of musical chord that reflects the musicality of the mill. 

I added some gear sounds to reflect the whole mechanical and compact side of the mill, because that's what the wind creates that music for, to make the mill work. I tried to mix the sound of the wind as if it were a storm happening in order to reflect the somewhat chaotic character of the sudden movement of the mill.

“O moinho assombrado”

The idea for this composition came from the 360º shot we took of the mill.

Using this shot as a basis, our perception is that we're moving, even when we're standing still, causing discomfort.

I also created several layers from the footage, including a start (which we didn't have in the original footage) and a layer with reverb, to create another layer of strangeness.

I also used the captures we made inside the whelks of the mill, which had an intense and strange sound by their very nature, and processed them in order to create a certain ‘feedback’ internally from that sound.

Finally, I created movement by moving another layer from left to right, which intensifies the purpose and idea proposed for this composition.

In this sound composition I mainly used the sounds from the field recordings made at the mill. 

In addition to these sounds, I also used some sound effects that I think help to complement the narrative. The sound composition begins with sounds from the surrounding area and moves closer to the mill until we enter it and hear the sound of all its mechanisms. 

For the composition I focussed on the hypnotic character of the jars on the mill's blades and its mechanisms and gears. 

Based on this idea, I edited and processed these sounds and added some sound effects to emphasise the hypnotic character that the field recordings gave me. 

The aim of this sound composition is to transport us to the dreamlike and into a kind of trance, just as the natural sounds of the mill do.

For this project I decided to make a sound composition with several layers of processing that turns the recordings of a mill at work into an industrial environment that evokes emotions of strong tension and anxiety.

For this work I found it interesting how it would be possible to transform a ‘Field Recording’ of a simple mill environment, and to what extent it would be possible to model it without taking away its own identity and essence. The aim of this project is to immerse the listener in a soundscape of constant tension, reminiscent of a dystopian aesthetic as in some of the suspenseful scenarios found in films such as ‘The Terminator’, ‘Blade Runner’ or ‘Cyberpunk’.

As part of the Archaeology and Soundscapes course, a proposal was made to create a sound composition based on the recordings made by the Science and Sound Technology students during their visit to the Apelação Windmill in Loures.
The aim of this document is to present and describe the sound composition and its technical and creative process in a brief and contextualised way.

This composition, called ‘The Storm’, lasts 3 minutes and 37 seconds and is intended to conceptually represent the idea of a storm, which evolves based on an abstract construction evoked by various sounds correlated with rain, wind, agitation, commotion and the oscillations caused by the forces of nature. This whole sound experience consists of detaching the source of the sounds from the recordings and introducing them into the artistic and abstract context of the sound composition. The various scattered excerpts from the recordings are articulated in layers of sounds, in superimpositions, in combinations of regular and irregular segments, moulding the overall layout and dynamics of the composition through changes in volume, intensity and density. The sound content of each excerpt was explored and selected beforehand, with the aim of structuring moments of tension caused by a chaotic sound atmosphere, followed by brief respites made up of sustained and long sounds that appear tranquil. All this structuring was made possible thanks to sound editing processes (such as Fades, Crossfades, Splice, and volume automations), creating greater coherence between the different dynamics and rhythms of the excerpts, unifying the composition in a more cohesive and unanimous way.
After articulating the excerpts, we proceeded with the sound processing, using equalisers, dynamic processing, reverb, delay, flanger and chorus effects.

On an aesthetic level, all these tools made it possible to ‘embellish’ and emphasise the sonic qualities of the different recordings. The application of equalisation and compression were decisive in highlighting and adjusting a specific set of frequencies or harmonics, as well as causing variations in timbre between the different sound elements. On a deeper level, these applications allow us to appreciate and experience the sonic details and textures in the foreground. For example, some wind sounds are filtered with equalisation and compressed so that only the 500Hz to 900Hz frequency zone is heard. This frequency zone is emphasised so that you can experience its timbral content in a more perceptible and audible way, without compromising the relationship of coherence with the other elements and the relationship of cohesion with the whole structure of the composition.

The sound effects of reverb, delay, flanger and chorus were fundamental for manipulating depth and spatiality. Many sound elements have delay effects with very short delay times, swinging and oscillating between different directions throughout the sound environment - evoking a sense of agitation and tension. The use of flangers and chorus were mostly applied to wind whistles, where they were emphasised with ripple and modulation effects, giving rise to a more oscillating, unstable and shaky character.

In short, this work is not intended to focus solely on the representation of its concept, nor to limit listening to the varieties of sounds present in the work to their original sources. Rather, it aims to provide an audible experience capable of freely stimulating the expressiveness and abstract appreciation of this composition of sounds, encouraging listeners to explore and experience the nature of the intrinsic qualities of the sounds and their acoustic environment -

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evoking a sense of agitation and tension. The use of flangers and chorus were mostly applied to wind whistles, where they were emphasised with ripple and modulation effects, giving rise to a more oscillating, unstable and shaky character.

In short, this work is not intended to focus solely on the representation of its concept, nor to limit listening to the varieties of sounds present in the work to their original sources. Rather, it aims to provide an audible experience capable of freely stimulating the expressiveness and abstract appreciation of this composition of sounds, encouraging listeners to explore and experience the nature of the intrinsic qualities of the sounds and their acoustic environment.