Didgeridoo Motorcycle Soundscape - Oct 27, 2024

This is a brief experiment in creating a soundscape that lives somewhere on the border between noise and music. One way to frame the question being asked is this: if a motorcycle engine strikes a listener as harsh and grating, how much tone and nuance would need to be added to the motorcycle engine so that it would begin sounding beautiful? In effect, I'm going in the opposite direction here, I'm starting with a didgeridoo drone and then shaping it into a sputtering motorcycle engine sound, but the question is similar: where does that border lie? Another question is, how does a drone recording interact with itself (enhancing or detracting) when layered upon itself with a time skew?

Here I'm playing a Hicks didgeridoo in F, made from yucca.
I start with a basic drone and then move to what I call the "motorcycle sound," a sputtering sound that demonstrated in an earlier video here:    • Didgeridoo MOTORCYCLE Sound  
I spent much of Oct 27, 2024 exploring variations and nuances of the motorcycle sound on this particular didgeridoo and this video is made from one episode during that exploration.
The audio was recorded through a single Shure SM7B going through a Grace preamp.
I duplicated the audio track and superimposed it on itself with a skew of several seconds to form a kind of canon. Each skew length created a different interaction, effectively a different piece -- I tried many possibilities and settled on the skew length that I liked the best.
The tracks were panned 80% left and right, respectively, then placed in a (simulated) reverb chamber to create total mayhem. I say "mayhem" with a smile because, actually, I'm finding that didgeridoo recordings can lend themselves to this kind of layering. Overlapping drone sections create chorus effect; rhythmic pulses go in and out of alignment; lots of interesting stuff can happen.
The left and right images of me are two copies of the exact same video, with the same time skew as the audio, and of course one is flipped.