Synthesis Etude; A study for experiments with analogue random devices in BEA5.
Duration: 5.57 min
Explored Generators:
* Random Envelope Generator
* Pseudo Random Noise Generator
* Random Pulse-Generator
* Tendency-Mask Generator
* Various Function-Generator
* Tone-Burst Generator
* T-Ramp
About.
The etude represents a study of analog random devices in BEA5. It contains quadrophonic recordings of five patches. 
The etude is based on random generated signals that are used to control Function-Generators, filters and control the rise, sustain and decay behavior of the audible wave-forms.
The patches follow more or less the same concepts, but are changed and extended during the progress. Each of the patches are representing their own sound characteristics.  


PSEUDO

etude using random applications on the various function generator in studio BEA5, Royal Conservatory The Hague.
Dedicated to Dick Raaijmakers and Konrad Boehmer. 

Dick Boehmer

TRANSFORMED GENERATION

Duration: 11"49 min

TRANSPOSITIONS:
* The samples are recorded at 15 i.p.s. on Studer tape-decks, divided in 4 different tape-sequences:

- Percussive sounds
- Pitched sounds 
- Noise sounds
- Slow sounds

* These sequences are transposed at a speed of 3.75 and 7.5 i.p.s. on Studer tape-decks and copied again at a speed of 15 i.p.s. The different play-backs are layered on top of each other

TRANSFORMATIONS:
* The material is transformed and quadrophonic divided using V-filters, Synthon-filters and Third Octave-filters controlled by sinus and square-waves ranged 0-10Hz. 

RE-TRANSPOSED:
* The resulting transformations are copied on tape and played-back using different speeds and shuffle-mode on the decks. Distorted transformations  are played-back fast and tape-compressed.

SYNCHRONIZATION:
Samples are roughly cut and pasted after listening carefully to the sample-disc. The sounds are selected and grouped to similar behavior in waveforms, and represent four different sequences.

The material is being transformed and transposed. There was the decision not to ad reverb. The spacial reference in the sound is a result of repetitive  sinus waves controlling the filters. Searching for a less repetitive pattern, the T-PRG offered a good solution.

Some material is edited using fade-in/out and rough cuttings. Some peaks are cut out of the waveforms, creating more space.

In the process of synchronization, the transformed sequence-groups are placed together, due to their characteristics. Parts of many transformations are build around those peaks, the movements are changing over time.



Arne van den Berg

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