Arahmaiani (Indonesia), post (Syd), tako seijin (Sam Tupou), Zane Saunders, Unstrumenta Orchestra, Shannon O’Neill (syd), ReelDance – Australian & New Zealand Awards 2010, John Von Sturmer (Syd), Kris Keogh (Dar), Font featuring Tweak Bakini, Hanzard and lots more.

Submerge#d presents a diverse and eclectic [...]]]> I’ll be performing at this event in Cairns this Saturday as part of the On Edge festival.

Submerge#d

Arahmaiani (Indonesia), post (Syd), tako seijin (Sam Tupou), Zane Saunders, Unstrumenta Orchestra, Shannon O’Neill (syd), ReelDance – Australian & New Zealand Awards 2010, John Von Sturmer (Syd), Kris Keogh (Dar), Font featuring Tweak Bakini, Hanzard and lots more.

Submerge#d presents a diverse and eclectic night of short media and performance works from local and guest practitioners. Guest artist, Arahmaiani (Indonesia) is a key-figure in the current contemporary art scene in both Indonesia and South East Asia, and draws from community process and social/political issues in developing innovative performance art.

The Submerge#d program also includes Sydney group post presenting new work in progress, the ReelDance Australian and New Zealand Awards, and innovative artists Zane Saunders and Sam Tupou bringing contemporary indigenous and pacific island perspectives to the fore.

• Sat 10th July
• Old Hrvatski Klub Artspace, 240 Scott St
• Doors 6.00pm, Show 7.00pm
• Check web for full program/times.

Tickets: $10/ 7 at the door.

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Liquid Architecture presents sound. Sound as the starting point for the active practice of listening. This is not to deny the conceptual or the abstract, the metaphorical or the representational, the expressionistic or the meaningful. But rather this is to restore the emphasis on the primary act of listening. Liquid Architecture is in effect [...]]]>

Liquid Architecture presents sound. Sound as the starting point for the active practice of listening. This is not to deny the conceptual or the abstract, the metaphorical or the representational, the expressionistic or the meaningful. But rather this is to restore the emphasis on the primary act of listening. Liquid Architecture is in effect then a listening festival and the artists presented are selected as much for their ability to listen with sensitive ears as for the sound they produce. You are invited to engage your sensitive ears and listen.

http://www.liquidarchitecture.org.au/

Tickets from Green Tix, $15 (or $10 concession) + $2 booking fee.

~

KK Null (Tokyo, 1961) is an electro-acoustic music composer/performer, and guitarist, singer, mastermind of avant-garde rock band ZENI GEVA.

In 1981 Kazuyuki Kishino (KK NULL) studied at Butoh dancer, Min Tanaka’s “Mai-Juku” workshop and started performing guitar improvisation in Tokyo, and collaborated with MERZBOW for two years, and joined the band YBO2 (with Tatsuya Yoshida, drummer of RUINS) and started the improvized rock trio ABSOLUT NULL PUNKT (with Seijiro Murayama, the original drummer of Keiji Haino’s FUSHITSUSHA).

In the 90′s ZENI GEVA released five albums produced by STEVE ALBINI. Also recorded twice for JOHN PEEL SESSION on BBC, and extensively toured throughout Europe, USA, Australia, New Zealand and Japan, playing hundreds of concerts.

All the while, KK NULL has been working on his solo career and has collaborated with other musical innovators from all over the globe such as CHRIS WATSON (UK), Z’EV (USA/UK), JOHN ZORN (USA), FRED FRITH (USA/UK), MATMOS (USA), KEIJI HAINO (Japan), JON ROSE (Australia), PHILIP SAMARTZIS (Australia), ALEXEI BORISOV (Russia), ZBIGNIEW KARKOWSKI (Poland) to name a few, and has been invited to perform at prestigious international festivals. Especially, KK NULL has been invited by GRM (Le Groupe de Recherches Musicales) to perform at Presences Électronique in Paris, France successively 2008 and 2009.

In recent years KK NULL has concentrated his efforts on his solo & collaborative recordings, exploring the outer territories of electronica, creating intense clashing waves of noise, structured electro-acoustic ambience, broken down rhythmics, scattered pitch sculptures and droning isolationist material, which could be described as “cosmic noise maximal/minimalism”.

http://www.kknull.com

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Lionel Marchetti (France, 1967) is a composer of Musique Concrète. Yôko Higashi (1974, Yokohama, Japan) is a performer, vocalist, Butoh dancer and choreographer.

Initially self-taught, Lionel discovered the catalogue of Musique Concrète with Xavier Garcia. He composed in the CFMI of Lyon 2 University between 1989 and 2002, where he still organises workshops focused on the loudspeaker, recorded sound and Musique Concrète, both on practical and theoretical levels. He has built his own recording studio, and has also composed in the Groupe de Recherches Musicales in Paris since 1993. Marchetti performs improvisation using microphones and loudspeakers, as a duo with Jérôme Noetinger, and with the collective Le Cube (with Christophe Auger, Étienne Caire, Christophe Cardoen, Xavier Quérel, Jérôme Noetinger, Gaëlle Rouard) a group that performs live music while films are shown and worked on interactively. Lionel also writes poetry, and develops theoretical thoughts on Musique Concrète and the art of the loudspeaker.

Yôko has collaborated with Lionel Marchetti, Nicolas Ticot and Frédérick Galiay, and has performed with Keith Rowe, Thomas Korber, Seiji Murayama and Chewbacca (Andrew Daymond and Damien Grange). In 2003 she formed Yokohama Zen Rocks, an electric pop-rock trio, and more recently the duo Octobriana with violinist Agathe Max. hamaYôko is Higashi’s Musique Concrète-influenced electro-pop project.

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Decibel is a new music ensemble based in Perth, Western Australia devoted to the nexus of acoustic and electronic instruments. The group was formed out of a desire to perform a range of music where electronic and acoustic instruments feature side by side and is dedicated to Australian music and emerging Western Australian composers. [photo © KFord]

Decibel Members

Cat Hope (artistic director, flute and electronics)
Lindsay Vickery (reeds and electronics)
Stuart James (piano, percussion and electronics)
Malcolm Riddoch (guitar and electronics)
Tristen Parr (cello)
Aaron Wyatt (violin, viola)

decibel.waapamusic.com

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Jon Hunter is an electronic artist/musician living in Sydney. He creates sound installations, composes and performs music for modified spring reverberation units, computer and guitar. Hunter’s works sit somewhere between psychedelia and science fiction. Often sounding like organic field recordings but synthetically rendered, these tense environments teeter on the edge of collapse whilst the echoes of Hendrix and Haino fly past.
He is a part of The Holy Soul, Guarde Compartmente (a duo with Monika Brooks) & Delirium Tremens (a duo with Peter Newman). He has performed with the likes of Damo Suzuki (Can), David Thomas (Pere Ubu), Yusuke Akai, Somaya Langley, TAD, Nick De Jong (Ghosts of Television / None Music) and Shoji Hano.
He co-presents the weekly new/experimental music program ‘Song X’ on 2ser with Martin Ng & Peter Blamey and co-runs a small label Magnetic Recording Council .”

*

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Over Saturday 17th  & Sunday 18th July The WIRED Lab will be hosting its annual in situ DIY Wires: Construction & Recording Workshop.  This workshop is your chance to learn how to build your own æolian instrument and custom recording techniques. The weekend will also include an evening [...]]]>

WIRED Lab DIY Wires Workshop, Web Launch & WIRED EAR Scheme

Over Saturday 17th  & Sunday 18th July The WIRED Lab will be hosting its annual in situ DIY Wires: Construction & Recording Workshop.  This workshop is your chance to learn how to build your own æolian instrument and custom recording techniques. The weekend will also include an evening of performances by Alan Lamb & WIRED Lab members, and the launch of our new website.

The WIRED Lab is located on a farm in regional NSW (between Gundagai and Cootamundra). The WIRED Lab is the site of the latest ‘Wire’ instruments built by Alan Lamb, along with collaborators Sarah Last, Dave Burraston, Garry Bradbury and Robin Fox.

WORKSHOP DETAILS
Saturday 17th & Sunday 18th July
The workshop is offered for free to 25 lucky participants and will give you the DIY skills to build your own wires and pickups, held over two days, the workshop will include:
* Alan Lamb, Dave Burraston & Sarah Last will teach people how to build their own wire system and demonstrate ways to interact with the wires (eg. bowing and singing into polystyrene boxes, which work as reverberant amplifiers!).
* Permanent WIRED Lab resident & electronics wizard Dave Burraston will discuss his observations of The Wires when recording and will demonstrate how to custom build and attach piezo pickups.
* Alan Lamb will demonstrate percussion, bowing and techniques with the wires.
* Opportunity to interact with and record the wires.

NOTE: workshop places are strictly limited, with a maximum capacity of 25 people. Places will need to be reserved ASAP, with bookings on a 1st come 1st served basis.

WIRED EARS (EMERGING ARTISTS RESIDENCY SCHEME)
The WIRED EAR Scheme will provide financial assistance for NSW based young and emerging artists to attend selected WIRED Lab workshops. For our annual DIY Wires workshop we will be offering $150 to assist 8 emerging artists with the costs to attend the workshop. Artists who consider themselves to be ‘young and emerging’ are invited to submit a brief (1 page maximum) expression of interest detailing their arts practice and how they feel they will benefit from being a WIRED EARS participant. WIRED EARS expressions of interest are due on Monday 28th June.

PERFORMANCE EVENING & WIRED LAB .ORG LAUNCH
On Saturday evening WIRED Lab will launch its new website wiredlab.org, with Alan Lamb, Dave Burraston and Special Guests presenting a concert open to the general public in Cootamundra’s Creative Arts & Cultural Centre (CCACC). The CCACC is a new facility; it is the 1st time Cootamundra has had a dedicated Arts infrastructure, the Centre was initiated by local volunteers and is located in what once was an Ugg boot factory!

ABOUT ALAN LAMB
You may already be familiar with Alan’s work, he has been working with wires since the 70′s. He originally started with disused spans of telegraph wires and evolved into building his own that spanned hundreds of metres across the desert and the open landscapes. During this time he developed a technique of attaching stereo contact microphones to record and listen to The Wires. These recordings expose an infinite and amplified universe of sound that sonically reflects the environment and things we cannot see. The Wires sonically reproduces environmental and human interactions with an enormous dynamic range of harmonics and frequencies, often to visceral effect. Whilst having traditional sonic qualities such as pitch, timbre, rhythm and key, the sounds produced are perhaps best described as a deep space atmosphere with earth hums and electro-pings, even insects can be heard as they collide or crawl up and down the wire.

ABOUT WIRED LAB
A primary objective of The WIRED Lab is to consolidate Alan’s work and create a permanent site for his instrument to be further developed by other artists, and for Alan to devolve his skills and knowledge to as many people as possible. Since its 2007 establishment The WIRED Lab has presented workshops, concerts, an open day and various publications documenting Alan Lamb and WIRED Lab collaborators.

Thus far The WIRED Lab has built several sets of wires, spanning kilometres across the landscape. We have been recording the wires with piezo pickups and we plan on setting the wires up so we can record visiting artists and their interactions. You will find some recordings and info here:http://wiredlab.ning.com/

——————————

Further logistical details about the workshop can be found HERE

REMEMBER: this workshop has ***limited availability***
This is primarily for logistical reasons; BUT NOTE we plan on hosting more workshops and an open day, so if you miss out this time there will be opportunity for many more people to get WIRED in the future.

Any further questions?
Please email Sarah at: info@wiredlab.org

The WIRED Lab
W I R E D : Wire Integrative Research Education & Development
http://wiredlab.ning.com/ and http://www.wiredlab.org/

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Curator Led Tour and Moderated Artists’ Forum

Saturday 12 June 2010 | 11am-3pm Newington Armory Gallery | Buildings 18 & 22

Curator Led Tour @ 11am | Building 18

Join Sophia [...]]]> The Newington Armory Gallery, the Centre for Media Arts Innovation (UTS) and New Media Curation invite you to the Memory Flows Public Programme:

Curator Led Tour and Moderated Artists’ Forum

Saturday 12 June 2010 | 11am-3pm Newington Armory Gallery | Buildings 18 & 22

Curator Led Tour @ 11am | Building 18

Join Sophia Kouyoumdjian on an exhibition tour as she discusses the works and concepts explored within Memory Flows.

Artists’ Forum @ 1pm | Building 22

Join selected artists from Memory Flows and Daniel Brine, Director of Performance Space for a panel discussion about collaborative and iterative media art practice in Australia. Panelists will explore ways that this practice can re-engage with ideas of water, ecology and the aesthetic metaphors these concepts generate. The Panelists are: Chris Caines, Shannon O’Neill, Greg Shapley, Megan Heyward, Jacqueline Gothe, Sherre DeLys and Nigel Helyer.

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Memory Flows is an ongoing and distributed media art project of the Centre for Media Arts Innovation (CMAI) UTS. As elsewhere around the globe, Australian rivers are conduits that are emblematic of networking systems, travel systems and survival systems. Memories and stories – both actual and fictional – will flow and stream from Australians’ intense and varied relationships [...]]]>

Memory Flows is an ongoing and distributed media art project of the Centre for Media Arts Innovation (CMAI) UTS. As elsewhere around the globe, Australian rivers are conduits that are emblematic of networking systems, travel systems and survival systems. Memories and stories – both actual and fictional – will flow and stream from Australians’ intense and varied relationships with water. Artists belonging to this group have tapped into the specific memory that rivers and waterways retain, streaming their enquiry back to the group and out to a larger public audience via exhibition.

http://memoryflows.net/

PARTICIPATING ARTISTS

Ian Andrews | Chris Bowman | Chris Caines | Damian Castaldi | Sherre DeLys | Clement Girault | Jacqueline Gothe | Ian Gwilt | Megan Heyward | Nigel Helyer | Neil Jenkins | Solange Kershaw | Roger Mills | Maria Miranda | Norie Neumark | Shannon O’Neill | Greg Shapley | Victor Steffensen | Jen Teo | Jes Tyrrell

15 MAY – 20 JUNE 2010 | open weekends only 10am – 4pm
Armory Gallery, Newington Armory Jamieson Street (off Holker Street), Sydney Olympic Park NSW 2127

LAUNCH EVENT AT THE ARMORY

Friday 14 May 2010 @ 6pm
Talks @ 7pm to be opened by Judith Blackall, Head of Artistic Programmes at the Museum of Contemporary Art
Headwater performance @ 8pm by The Field

There will be a charter bus leaving from the Art Gallery of NSW (5:45pm) and stopping at UTS (6pm) before heading out to the Armory (arrival @ 6:45pm). Return charter service to Central Station departs from the Blaxland Riverside parking lot @ 9pm.

FREE parking at Blaxland Riverside Park car park

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Open Fields is an interdisciplinary event occurring this week at UTS and Serial Space. I’ll be participating in two performances:

Today I had the pleasure of participating in the GET RHYTHM! event at the Powerhouse Museum, with Paul D. Miller aka DJ Spooky & Annie K. Kwon, Andrew Johnston & Ben Marks and Jon Drummond. I gave a presentation about the Sound a Day project, as well as Alias Frequencies and [...]]]>

Today I had the pleasure of participating in the GET RHYTHM! event at the Powerhouse Museum, with Paul D. Miller aka DJ Spooky & Annie K. Kwon, Andrew Johnston & Ben Marks and Jon Drummond. I gave a presentation about the Sound a Day project, as well as Alias Frequencies and Memory Flows. The drinks afterwards were full of interesting conversation.

Sound a Day will be taking a break over the holiday period. I had hoped to continue it, but I’m moving house and will be without a studio and possibly internet over the next few weeks. Once things have settled down I’ll be back with more sounds.

Have a great new year!

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SAD013 – Chamber of Secrets 0:17 700 KB

The photo above is of the toilet at Jinnah’s.

The sound is of a toilet flushing, played backwards and slowed down, which is a technique often worth trying. The dynamics were enhanced with volume graphing in Wave Editor. I also got some [...]]]>

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SAD013 – Chamber of Secrets 0:17 700 KB

The photo above is of the toilet at Jinnah’s.

The sound is of a toilet flushing, played backwards and slowed down, which is a technique often worth trying. The dynamics were enhanced with volume graphing in Wave Editor. I also got some interesting drones from the same recording which I might post later.

Chamber of Secrets could work well in an electroacoustic or musique concrète piece.

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SAD012 – Jinnah’s 0:56 2.15 MB

Jinnah’s is a crazy Pakistani restaurant in Dulwich Hill. Going there is always an adventure, but I wasn’t prepared for what greeted us when we arrived tonight.

SAD012 is a recording of the entrance at Jinnah’s. I made it using FiRe on my iPhone. [...]]]>

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SAD012 – Jinnah’s 0:56 2.15 MB

Jinnah’s is a crazy Pakistani restaurant in Dulwich Hill. Going there is always an adventure, but I wasn’t prepared for what greeted us when we arrived tonight.

SAD012 is a recording of the entrance at Jinnah’s. I made it using FiRe on my iPhone. I don’t know why the sound is so strange – possibly a faulty radio transmitter? Staff walked past apparently without noticing! I just wish there’d been a strobe light to go with it.

Btw, the (rather expensive) food was great when we last ate there about a year ago, but tonight was very disappointing. The food tasted old, the restaurant was empty and they’d replaced the previously warm lighting with a few cold white CFLs. This was sort of a farewell as we’re moving away from the area, but we won’t be missing Jinnah’s as much as we thought we would.

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Sound a Day 011 – Korg Study 002 0:08 312 KB

One thing I like about the MS-20 is that you pick up where you left off. There’s no saving and recalling patches. Today’s sound is based on yesterday’s patch, but the input signal has been removed. The repeating notes [...]]]>

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Sound a Day 011 – Korg Study 002 0:08 312 KB

One thing I like about the MS-20 is that you pick up where you left off. There’s no saving and recalling patches. Today’s sound is based on yesterday’s patch, but the input signal has been removed. The repeating notes are played by hand. The built-in ‘modulation generator’ or LFO is set to a descending sawtooth wave, influencing the oscillators and filters, while some envelope modulation gives the notes more presence.

A fairly simple sound, SAD011 could be used as either a one-off effect or a loop. It could also be good slowed down &/or backwards. I might play around with it some more…

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Sound a Day 010 – Korg Study 001 0:25 998 KB

For several years I’ve had the idea of doing a collection of ‘Korg Studies’ – short pieces that explore a particular sound or technique on the Korg MS-20 synth (and also the Korg mini-KP Kaoss Pad). Here is as [...]]]>

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Sound a Day 010 – Korg Study 001 0:25 998 KB

For several years I’ve had the idea of doing a collection of ‘Korg Studies’ – short pieces that explore a particular sound or technique on the Korg MS-20 synth (and also the Korg mini-KP Kaoss Pad). Here is as good a place as any to start.

KS001 demonstrates my usual technique of using an external input to drive the control voltages. In this case it’s a random song playing on my iPhone. There are two square wave oscillators an octave apart, their pitches mapped to the mod wheel. One is modulated by the amplitude and the other by the frequency of the incoming signal. The low-pass filter is also being heavily modulated. When the incoming sound hits a certain level it triggers the envelope generators, which have a percussive shape. Continuous tweaking of parameters is done to shape the sound into something interesting.

These are techniques that I’ve developed and refined over the past few years of working with the Splinter Orchestra. I was also very impressed by Asmus Tietchens‘ performance at Liquid Architecture this year, and I think his approach to the synthesiser may have influenced me recently.

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SAD009 – Alternative Comedy 3:16 7.49 MB 90 BPM

Another Numerology piece. The voice is actually SAD003 played on Numerology’s built-in sampler, with lots of modulation going on. Strangely it sounds less like a computer and more like a real voice than before. The drums remind me of standup comedy, [...]]]>

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SAD009 – Alternative Comedy 3:16 7.49 MB 90 BPM

Another Numerology piece. The voice is actually SAD003 played on Numerology’s built-in sampler, with lots of modulation going on. Strangely it sounds less like a computer and more like a real voice than before. The drums remind me of standup comedy, so I imagine this piece as a very odd comedy gig. I should add some audience sound fx, maybe the one I removed from SAD007. Anyway, some random piano, split into two tracks, rounds out the sound, adding some melodic interest and stereo movement.

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Sound a Day 008 – Faustian Blur 1:52 4.28 MB

This one’s a sketch of a nice little ambient electronica tune, reminiscent perhaps of early IDM, such as Black Dog. I used to make a lot of this stuff back when I was in Clan Aanalogue, but in recent years, [...]]]>

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Sound a Day 008 – Faustian Blur 1:52 4.28 MB

This one’s a sketch of a nice little ambient electronica tune, reminiscent perhaps of early IDM, such as Black Dog. I used to make a lot of this stuff back when I was in Clan Aanalogue, but in recent years, not so much. Which is a pity as I enjoy making tunes as much as weird shit.

Faustian Blur was made in Ableton Live Suite using three of the built-in instruments: a double bass, 606 drum kit, and an analogue synth pad. Variety is added to the simple bass and synth melodies via MIDI plugins which randomise their octaves. The velocity of the bass is also randomised slightly.

The title, a play on the term Gaussian blur, is, if nothing else, a Googlewhack.

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SAD007 – Brain Hurts 0:05 187 KB

Samples tend to jump out and demand to be sampled, as happened while I was watching the Daily Show today. That’s Jon Stewart referring to Obama’s Nobel speech.

I edited out some audience laughter in the middle. It could use some atmos or [...]]]>

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SAD007 – Brain Hurts 0:05 187 KB

Samples tend to jump out and demand to be sampled, as happened while I was watching the Daily Show today. That’s Jon Stewart referring to Obama’s Nobel speech.

I edited out some audience laughter in the middle. It could use some atmos or music to mask the edit.

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SAD006 – TV Scrub 6:06 14.04MB

For several years my studio and lounge were the same room. The TV would be on most of the time, with the sound going through the computer, allowing me to process or capture it. It was often subjected to spectral/delay/FSU plugins for extended periods. [...]]]>

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SAD006 – TV Scrub 6:06 14.04MB

For several years my studio and lounge were the same room. The TV would be on most of the time, with the sound going through the computer, allowing me to process or capture it. It was often subjected to spectral/delay/FSU plugins for extended periods. TV’s more fun that way.

For today’s sound I decided to process some TV audio in a slightly different way, without plugins. I recorded a minute each of 11 different TV channels and brought them into Ableton Live as a series of loops. Follow actions in legato mode switch to the next clip every quarter note, so it’s effectively in 11/4 time.

Structurally it’s quite simple, going from 999 BPM down to 20, then back up to 999 again. The result is a kind of basic wavetable or granular synthesis. I’m annoyed that Live can’t loop clips without putting them in Warp mode, but the ‘Beats’ setting resulted in some interesting buffer effects.

I have to admit to having a thing for cutup and processed voices. They tickle my brain in ways that other sounds don’t. I’m sure there’ll be more of them in this series.

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Exhibition Dates | 19 December 2009 – 30 January 2010

Launch Date | Saturday 19 December 2009 @ 2pm | GET RHYTHM! Performances and Talks by Paul D. Miller and Annie K. Kwon with [...]]]>

Nauru Elegies: a portrait in sound and hypsographic architecture
by Annie K. Kwon and Paul D. Miller (aka DJ Spooky)

Exhibition Dates | 19 December 2009 – 30 January 2010

Launch Date | Saturday 19 December 2009 @ 2pm | GET RHYTHM! Performances and Talks by Paul D. Miller and Annie K. Kwon with guests Andrew Johnston, Ben Marks, Jon Drummond, and Shannon O’Neill | Target Theatre | Level 2 | Powerhouse Museum, Sydney | RSVP ESSENTIAL to deborah@newmediacuration.com

Guest Curator | Deborah Turnbull | New Media Curation

Design Realisation | Interaction Consortium | Dr. Greg Turner | Aram Dulyan

As advertised in Museums & Galleries NSW and Ampersand Magazine

Available Publication: Rhythm Science, by Paul D. Miller (MIT Press, 2004)

PRESS RELEASE

I’ll be talking about my use of the web in recent sound works, including drawing from the Pool for Memory Flows, my new ‘Sound a Day’ project, and developments at Alias Frequencies. If there’s time, I may also do a short laptop performance.

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SAD005 – Cistern Crash 1:30 3.46MB

Recording storms is one of the most obvious things to do with a portable audio recorder – I’ve recorded plenty with my Edirol R-09. Listening back to a 30 minute recording that I’d made of an incredibly loud downpour outside my bathroom window, I [...]]]>

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SAD005 – Cistern Crash 1:30 3.46MB

Recording storms is one of the most obvious things to do with a portable audio recorder – I’ve recorded plenty with my Edirol R-09. Listening back to a 30 minute recording that I’d made of an incredibly loud downpour outside my bathroom window, I noticed a section in the middle where the rain stops, and one can hear the sound of a cistern, then a loud thunderclap. It’s that moment that I’ve selected for today’s sound. A cistern? Well yes, I had just used the toilet. Cisterns can make amazing sounds – people should listen to them more closely.

Cistern Crash is best heard on headphones.

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SAD004 – Collapso 4:07 9.9MB 120BPM

Numerology is a program that should be much better known. Imagine Ableton Live in which the emphasis on audio looping is replaced by step sequencing and generative composition. I love its extensive modulation and randomisation options which encourage experimentation.

Collapso is a minimal, ever-changing [...]]]>

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SAD004 – Collapso 4:07 9.9MB 120BPM

Numerology is a program that should be much better known. Imagine Ableton Live in which the emphasis on audio looping is replaced by step sequencing and generative composition. I love its extensive modulation and randomisation options which encourage experimentation.

Collapso is a minimal, ever-changing rhythm. It’s made of just a kick, hi-hat, and the ‘SynthTom’ patch on the LinPlug Free Alpha synth plugin. The tom has a short melodic sequence in Mixolydian mode, but the parameters of the sequence, including note probability and octave, are being continually modulated – you can see it running in the screenshot above. The hi-hats also have some randomisation, while the relatively simple kick helps give it momentum, emphasising the syncopation and bounciness of the tom.

I could listen to this do its thing all day, but should probably try to turn it into a finished track, with a few more sounds.

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