Harmonics and timings all based on Phi - the golden section: 1.618. It sounded like a bell - so hence the name. All the sounds - harmonics, intervals between pitches and timings - are calculated using this ratio. It was created using a Yamaha SY99 and a Mac in around 1995.

Golden Bell

A recording and mix I did of "Stickman" by SPeW 
Recorded in Seaton Point, Hackney, February 2020

SPeW are a four piece Anglo Antipodean London based outfit.
The self professed purveyors of Wonk-Funk are regulars on the London circuit and have performed at many venues including The St. Moritz Club (Wardour Street), Rock 'n' Roll Cabaret at the Constitution (Camden), Vinyl Deptford (RIP), Sin Bin and the Cute Owl Festival (curated by tAngerinecAt).

Featuring members of Rude Mechanicals, Alternative TV and the A Band (a particular favourite of Thurston Moore), the band lineup is:

Gardyloo Spew - vocals, sax, words
MJ Ultra - bass, music
boyBlue - drums
Cos Chapman - guitar

Check out the video by Marina Young at https://vimeo.com/526901495

Stickman: by SPeW

An alternative version of a touching little tale of murder related by Miss Roberts... Recorded and mixed by myself with cello arranged, recorded and performed by Tim Bowen.

Miss Roberts: vocals, words, music and executive production
Cos Chapman: guitars, keys, percussion, samples, music
Tim Bowen: cello

Rude Mechanicals: The Knife

I constructed a scale based on the golden ratio of 1 : 1.618. the note durations were also based on the same principle. It was realised on a Yamaha SY 99 back in 96 if I remember rightly.

Wedensday

Part of the Sound Design for Jill Rock's "Whiteout" show at The Hundred Years Gallery. Taking Whiteout as the theme I had two things occurred to me - white noise, and Antarctica. The full piece is therefore guided by two principals - one technical and the other aesthetic. White noise (to me at least) means random frequencies of random intensity so starting with "pure" sine waves I attempt to arrive at white noise over a period of around an hour. The main synthesis tool is FM - using sine waves only - I have used varying envelopes for both modulators and carrier. The frequencies chosen are based on the Golden Ratio 1:1.618… alongside harmonic frequencies and microtones.

Whiteout (excerpt)

A short experiment in using a computer to make sound from 1984 or thereabouts. More of similar can be heard on this Bandcamp page
https://coschapman.bandcamp.com/album/four-month-burst-computer-music-1984

Dislocation

Live at Bobby Kennedy's Evidently Chickentown, Biddle Brothers, Hackney June 2017

Evidentaly Chickentown June 2017

Created from cut up vocal and guitar samples. I used stupidly complicated algorithms to work out the patterns, but I think the results are rather fun!

Compositions

Two Families of Objects

Written for Anna Chen's solo play Taikonaut. Performed at BAC and other locations.

Spacecraft Interior

An experiment using live synths - including some self built modular and vintage stuff like wasp and SH-101 with a 70s drum machine generating a gate - no MIDI all CV so all recorded as audio.  The voice synthesizer was added post-production along with some tweaking in Logic. 

I wanted to see if the different elements could combine easily - using the synth voice as a texture mixed with the analogue synths. I used logic to create a MIDI track from the audio and hacked voice settings and MIDI about till I liked it. I don't think my regular collaborator - Miss Roberts of Rude Mechanicals - has too much to worry about!
Pic from https://wallpapersafari.com/w/SPBXfU (copyright free) 

I I'm thinking of a more refined version which may make it's way onto Bandcamp (probably on the Beauty and Disgust label).

More of me here:
https://beautyanddisgust.bandcamp.com/album/four-month-burst-computer-music-from-1984

ASLE02 Robot Exp Pt2 Exp

I enjoy performing solo improvised electronics, creating sound-design for installation, theatre and film, performing live with cabaret star Miss Roberts as part of "Rude Mechanicals". 

I started working life as an Oceanographer. Throughout this time experimenting extensively with sound, using modified reel-to-reel and self-built devices. 

His portfolio of compositions includes work for piano and "tape", live processing of soprano saxophone, video, theatre, dance and installations. His soundtracks have been heard on Resonance FM and at national events including the Manchester Short Film Festival, Newcastle Vain Festival, Sonic Arts Network Expo! 

MORE STUFF (if you really want to know)

Gear
The set up has several elements which are pretty interchangeable, but I normally use a 3/4 size electric guitar as a primary sound source with a Headrush loop pedal (because its very straightforward) processed through various effects units. I only rarely play the guitar conventionally, preferring to use preparations: placing objects between strings and rubbing and striking the strings or using devices like the ebow to generate sounds. The tuning of the guitar varies and often I deliberately detune during performance - some strings by around two octaves. If I’m collaborating with other musicians this is often the only instrument I’ll use as it’s quick to set up!

For a solo performance I’ll bring some more devices along - very much depending on the nature of the  event and how long I have to perform. Ive become fond of Korg recently and often use their Kaossiloator and Monotron synths as they are easy to slip in a pocket. I also like to bring along one of a selection of larger synths, self built/circuit bent or novel instruments. This includes a Stylophone 350S, a Wasp, SH101, a fretless bass tuned to low B, a child’s keyboard, contact mics, and a modded delay I made in the 80s. Rather than set all this up through a large mixer I like to use a small 4-channel microphone mixer and plug things in and out - probably because it adds to the danger and theatre!

Development
During the 80s I started using computers for music in particular a Yamaha CX5M and in the early 90s a Mac. Making music using these was slow (not quite as slow as using magnetic tape! But still sloooowww…) My interest was in electroacoustic music and combined samples and synthesised sounds. The level of detail I went into was borderline obsessive. Initially I was doing sound design for theatre, but then I started a post grad degree in music and found playing finished pieces in concert halls was an odd experience as no one was doing anything. So I started working with live performers and playing the pieces live myself.

It quickly struck me that the sounds and structures I had taken so long to achieve in the studio could be created spontaneously on stage. I used a AKAI S3000 to sample instrumentalists editing and manipulating on the fly. No only was there little sonic difference, it was more interesting  for myself and the audience. Computers in those days were forever crashing and I always found a mouse a rather clumsy musical instrument, so I’ve never felt tempted to use computers live.

Aesthetic
The unpredictability and ephemerality of improvisation appeals and for years I avoided recording my performances. Choices about what to use are made on the spot after arriving for a performance - sometimes using less than half of what’s brought. I enjoy collaborating - especially with other art-forms like dance and this extends to the audience who can be asked to choose what equipment used etc.. Often a series of shorter pieces of around 5mins can seem more satisfying that extending an idea for 30min. Recently Ive started using computers again for creating the sound element of installations - sometimes supplementing with live performance.

CosChapman

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