Editing and Sequencing

After gathering the recordings, I started building the structure of the piece in Ableton. I originally imagined using many different locations, but during editing I realised the work became too fragmented. There were too many changes in atmosphere and it started to feel closer to a collection of recordings than a coherent listening experience.

Because of this, I reduced the structure to three main spaces. This made the transitions more meaningful and allowed each environment to develop more slowly. Instead of using heavy processing or complex sound design, I focused mostly on sequencing, timing and volume relationships between recordings.

The piece begins in the private room with quieter and more controlled sounds. From there, it moves into the corridor, where footsteps and reflections introduce movement and bodily awareness. The final section takes place in the underpass environment, where overlapping traffic rumble, distant environmental noise and shifting reflections create a denser and less stable atmosphere.

During editing in Ableton, I mainly used fades, volume automation and light EQ rather than heavy processing. I avoided adding artificial reverb because I wanted the spatial qualities of the original recordings to remain recognisable. Slower transitions also helped maintain a clearer sense of environmental continuity and movement between spaces.

One challenge during editing was finding a balance between documentation and composition. Early edits felt too cinematic and over-composed, especially when I used too many cuts and transitions. After listening back several times, I realised quieter sections and slower pacing often created a stronger sense of spatial awareness. During editing I also became more aware of how sequencing and pacing could shape perception in ways similar to the sound installation ideas discussed in my essay research.

The movement between the three environments also mirrors the progression discussed in the essay, moving from more controlled spaces toward less predictable sonic environments. This process made me more aware of how subtle changes in resonance, distance and perspective can completely change the way a listener experiences space.