Youtube - Video: https://youtu.be/zKoSds05plk

Spompanadln

The second Incantations track played on my Harley Benton SC-550 II guitar ). The track was recorded via an Audient Sono Guitar interface into AUM on my iPad. Effects used were Nembrini Delay 3000, Gauss (a looper/sequencer), Kosmonaut and Bleass Slow Machine.

Incantations 2

Orgadfoler

next door the loss

Michele Loi: piano 
Marco Pisu: Guitar @marco-pisu-511634437
Marco Spiga: Modular synth
Also posted by Marco:https://soundcloud.com/marco-pisu-511634437/percussivo-194?si=f7b4a9796cbf4c9694927d03e2a1321b&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing

Dessim  )194)

My Depression

Digital Collapse

Grass Market Biddy Mull

I Can't Stress This Enough If You Want To Learn The MPC Check Out Ave Mcree's Tutorials, thanks Ave.

Aurora (MPC) {Instrumental} 𝑷𝒓𝒐𝒅. 𝑩𝒚 Operation O™

TimeLapse

‘47’ marks my 47th SoundCloud upload: an epic, cinematic journey through ancient mysticism and modern bass innovation. Futuristic glitch-hop textures fuse with مصرية  (Egyptian) modality and Southeast Asian tonalities, bringing micro-granular detail and Dolby Spatial Audio to a hard-hitting, organic, and recursive sonic world. Bass drops, sand and wind-laden granular foley, and hypnotic mono-sub propulsion evoke both Cairo and Hanoi, blending cinematic sound design with fractal repetition for a uniquely global listening arc. Engineered for listeners who seek spiritual depth, algorithmic discovery, and full-spectrum spatial immersion. Headphones or surround sound strongly recommended. 🔥MEMETiC🔥
Tags: #47 #glitchhop #egyptianmusic #vpop #cinematic #fractal #arabicvibes #cairo #hanoi #spatialaudio #microgranular #organicbass #granularfoley #monosub #womp #memetic #recursion #futurebass #worldfusion #edm #dolbyatmos #soundcloudselect #beyondeastwest  
موسيقى_مصرية  القاهرة  العربية  الميمز  وومب   
nhạc việt  hà nội  vpop

/ 𝗣𝗟𝗘𝗔𝗦𝗘 𝗣𝗟𝗔𝗬 𝗧𝗛𝗜𝗦 𝗥𝗘𝗖𝗢𝗥𝗗 𝗥𝗘𝗔𝗟𝗟𝗬 𝗟𝗢𝗨𝗗, EVEN TO THE POINT OF INCONVENIENCE – EXTREMELY SOFT SOUNDS & ABRUPT VOLUME CHANGES ARE ESSENTIAL FOR THE DYNAMISM OF THE FORM AS A WHOLE | 𝗛𝗘𝗔𝗗𝗣𝗛𝗢𝗡𝗘𝗦 𝗦𝗧𝗥𝗢𝗡𝗚𝗟𝗬 𝗥𝗘𝗖𝗢𝗠𝗠𝗘𝗡𝗗𝗘𝗗 | 𝗕𝗜𝗡𝗔𝗨𝗥𝗔𝗟 𝗔𝗨𝗗𝗜𝗢 /

« minor differences » for virtual, physically-modelled, 10 metres long, microtonal piano(s) & electroacoustic sound layer (2019)

/dedicated to Olga Miriam Michałowska/


***
This piece is a study of displacement. It is an examination and investigation into degrees of "MINORITY" of a chord. It is a form of simultaneously permutated, entangled note chains (organised using a specified quantisation also undergoing its own alterations in time), an excerpt from an “endless” modulation occurring within a MINOR “hemisphere” of a soundspace determined by transition between 24-, 15-, 19- & 21-EDOs as well as my own, non-octave scale.

In « minor differences », almost everything was derived from the ratio of 13/11 – an interval of tridecimal minor third, measuring 289 ¢. The scale incorporated in the majority of the piece had been developed on the basis of the mentioned ratio of 13/11 as well. It has “too small” or "too wide" thirds, no pure fifths at all and octaves being almost pure, yet not exactly so (deviations vary between -21 ¢ and +10 ¢). This carefully calculated exertion provides slight beatings, mildly rough interference patterns and therefore gives an overall impression of an expanded space – as seen in dual intra-cavity of a two layer mirror. At the same time, those “compressed” thirds in the scale are responsible for an “endless collapse” impression of presented chord progression. The listener can realise that the harmonic charges are being resolved and transferred in several directions simultaneously, thus giving those once castellated, quantised patterns a touch of organically geometric refinement. In due course, mentioned quantisations also become intervalised; by this I mean different scale variants being entangled, superimposed and shifted, all in a specific order. As they start to modulate into one another, they contribute to building a meta-scale of presented musical material. Almost like an error that somehow happens to designate an additional dimension. Not far from a flaw; a small, unjustifiable irrationality that surprisingly reveals its carefully calculated and attentively designed essence. A factor that shifts piece's global “displacement paradigm” to another level. 

Thanks to the virtual modelling software capabilities it was possible to design and administer several “impossible” multiphonics (for ex. those with the structure of 13 and 11 partials mainly, without the even ones present at all), as well as map them further on the steps of my minor-third-oriented, non-octave scale. 10-metre-long strings applied in the virtual piano(s) used in the piece reduce the inharmonicity significantly, thus rendering the micro-intervals much clearer to one’s ear and their minor differences much more important.

minor differences

minor differences (2019)

ChrisdeBug is a live electronic artist and multi-instrumentalist from Vienna who is passionate about combining different genres into a harmonious and unexpected sonic experience. With a multi-faceted approach to music, community radio production (@untertageradio) and a passion for AI art and video editing, ChrisdeBug's creative projects cross conventional boundaries and explore new ways to combine image and sound. Her innovative approach to music brings vibrant electro-live music that falls between genres such as organic house, alternative electronic and downtempo, not really doing justice to any pigeonhole. Having already released with the world music orchestra Oficina Art Vienna led by Alegre Corrêa and the electro-live trio theKindeR, ChrisdeBug now opens a new chapter in her artistic journey and invites you to travel along.

Spompanadln

ChrisDeBug