Uncle Nobody Productions

Sound Dialog One - Bret Ellerton and Michael A Doherty Part One - Bret Ellerton Title: Grey sky, Wet roads, Fall Colored Fields, And Electricity Description: Recorded guitars on September 10, 2005. Recorded AM radio static and manipulated it with reverbs, other effects, and on board eq Thor’s day October 20, 2005.

Sound Dialog One - Bret Ellerton and Michael A Doherty Part Two - Michael A Doherty Title: Wet Sky, Forest, A Voice Description: Phonographic rain piece from forest floor near Chapel Hill, N.C. Nov 24, 2005. Tilaphone w/fx, dhol(drum), lap harp, and duduk, Recorded Dec 2005.

Sound Dialog One - Bret Ellerton and Michael A Doherty Part Three - Bret Ellerton Title: Alleyways Hold Hidden Beauty, The Pulse Of A City Description: Ambient sound recordings of four different alleyways in Seattle, Washington -mid January 2006 - manipulated rhythmically via computer. Hand drums, xylophone, sequential circuits six track, and reintroduction of some chords from part one – Recorded late January 2006.

Sound Dialog One - Bret Ellerton and Michael A Doherty Part Four - Michael a Doherty Title: On a Snowy Day, Elements of Sun-Drenched Desert and Rain-Soaked Forest Description: Phonographic elements: Rain piece from forest floor near Chapel Hill, N.C., a piece recorded on the ruins of a late mid-Pueblo period site in Spring of 2006 in central New Mexico, and a recording of cicadas, crickets, and other insects in Denver, Summer 2006. Turkish ney, tuning forks, hand drums, dhol, pitched tile fragments, Tilaphone, and bass duduk. Recorded November 29, 2006. The part is open after the 5 minute mark.

Sound Dialog Two - Bret Ellerton and Trevor Dutton Part One- Bret Ellerton Title: Awash in the Sense Fields Description: Various household appliances like microwave ovens, digital cameras, water fountains, and washing machines (hence the pun-like title) recorded and processed via computer along with other synthesizer forms added. Phonographic recordings made in Kyoto, Japan during Sakura festivities April 2004. Recording completed April 13, 2005. Status on part one: Closed

Dialog Two - Bret Ellerton and Trevor Dutton Part Two- Trevor Dutton Title: Iridium Rain Description: The synths were run through an analog filter to give the upper register an organic lush creaminess, and ultra beef in the bass. The three jolts that occur toward the middle and end were a manually triggered envelope that opened up the cutoff and resonance of the filter on the bass track. The metallic sounds were accomplished by striking and scraping a spiral coiled steel sculpture turned upside down, which had a wonderfully resonant quality. Most of the subtle panned effects were the result of several digital and analog delays on this track that were interacting on one another and manipulated in real time. The sprinkling track was done by pouring small finish nails onto the same steel sculpture. And finally there was a volume swelling track of cymbal samples that were tuned an octave or two up, driven by a random arpeggiator, and run through a step LFO on the analog filter. Status on part two: Closed

Sound Dialog Two - Bret Ellerton and Trevor Dutton Part Three - Bret Ellerton Title: Distant Wind Description: Recording of Fischer Price children’s music box/record player step at a time, reorganized, and processed via computadora. Acoustic guitar accents – background conversation purposefully included, digital camera internal noise via contact microphone then processed via artificial intelligence. Phonographic recordings of crowd at the Broadway Bound children’s production of Annie at the Moore Theatre – Jan 2007, as well as general ambience of Pill Hill, Seattle WA Jan 2007 via microtrack recorder. Tibetan bells and generic jingle bells. Recording completed January 25, 2007. Status on part three: Closed

Sound Dialog Two - Bret Ellerton and Trevor Dutton Part Four - Trevor Dutton Title – Ludicrous Description: The main track is an improvised pad patch on the Roland V Synth playing moody drawn out chords. There were occasional accent effects applied to this after recording using a Korg KP3 Kaoss Pad. About halfway through and continuing more or less to the end is an animalistic growling/squelchy sound that was the result of running the same V Synth track through a Sherman filterbank, whose 'tracking' function was failing to sync with the pitch of the chords and hence the complanatory dissonance. And last but not least there were a few other momentary effect sounds added with the V Synth for subtletly.

Sound Dialog 3 - Bret Ellerton and Michael Young Part One: Bret Ellerton Title: Sublingual Description: Recorded April and early May 2006. Use of various found sound objects including a hostile answering machine message, and other previously recorded voice parts. Guitar: processed minimally and extensively via computer or digital and analog means. Other instruments include: Sequential Circuits Six Track analog synth, various soft synths, Wind Wand, Drum of the Great Dragon Thunder Proclamation of Dharma (courtesy of the Seattle Shambhala Center).

Sound Dialog 4 - Bret Ellerton and Lucas Hilbert PART ONE - Bret Ellerton Title: Emergent Part Description: Includes calimba, acoustic and electric guitars, cymbals, various hand drums, glockenspiel, and sequential circuits six track synth. Finished recording October 15, 2006.

Origionally intended as a collaberation with Mr Doherty. He, however, chose to add silence as his contribution to the piece. Performed by Bret Ellerton Spontaneous composition/recording of an oil storage drum. Metal mixing bowls, bowed acoustic guitar, and some minor editing and sound manipulation via computer - Spring 2005