Are you using the LinnStrument on this one?

Uh, what i meant previously was "Are you using the LinnStrument as a controller for any of the synths/modules?"

The Sustain Series project continues with its second volume, 24 recycled forms created from old and unused material. Since the release of Volume 1 in November last year, more artists have come together to salvage, repurpose, restore and deconstruct each other’s pieces, or collaborate on a particular idea. What results is a growing variety of approaches and outputs, from minor embellishments to full disfigurement.

Volume 2 moves thematically, as if in four chapters, from the expressive openers, through enchanting natural-sounding pieces, before opening up to more ethereal expanses, and finally darker and more thoughtful ones. As it does, visions emerge of our natural world - its power, its beauty and its vulnerability.

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Halftribe & awakened souls - Upstream

Filament and Place

Innesti - Notwithstanding

This well known track by Zawinul (originally from Weather Report’s “Tale Spinnin’” record) is one of our favorites. This was our encore at UpFront on 9/30/22.

The Album That Never Was

Badia (Zawinul) - UpFront Exhibition Space 9/30/22

EuroS5000

This is an improvised piece - just sitting at the piano, and playing whatever comes out. As the title says, it was a rainy day in May. 3:15 in length.

RainyDayImprov May 21 2021

Pillars of Creation - Dust Two

Quick test of Eastwood Classic Tenor Guitar, Haken Continuum, and Korg Wavestate

quick and dirty ambient demo

Another wonder around on the CS80 and Oasys

After the Storm

Simple contemplative ditty, a 4-note wonder, mostly.
Good to record again.

Virus kB for drone run through a Pigtronix Echolution Deluxe;
PianoTeq Stage 5 for modeled piano;
OB-6 for the obvious cutting solo analog sound;
Omnisphere for strings;
FX: Valhalla Room for global reverb & Ubermod for tape delay; EOS on the piano; a series a Ableton Live delays for the super-long delay effect; and  GrainSpace tacked on the end for garble.

I think I accidentally ventured into Steward Copeland's Rapa Nui soundtrack territory here, a little. Recording ad-lib in one pass.

The title stems from Hawaiian lore, seek out the story.

Splintered Oar

As I continue digging though my old recordings, I found a song I wrote in 1979 and recorded on my Teac A-3440 4-track reel-to-reel tape deck. Punk was all the rage, and the Sex Pistols had just played their U.S. debut at Atlanta’s Great Southeast Music Hall two years earlier. Note that the refrain, “It hurts so good,” was two years before the hit single with a similar title. ©1979 by Geary Yelton

Beat Me (1980)

Processed ukulele, modular synth, and Haken Continuum

Anisochrony

Eclectic multi-Instrumentalist. I just freakin' love sound, and the tools to create and shape sound. 


Splintered Oar

Robert Dorschel

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