Another rhythmic Buchla 200e patch. 

This time I used a pair of "retro 158" VCO's as the main audio source... and a "retro 258" as an FM source: BOTH into the "retro 158's" AND the 285e FM audio input!!

A big part of this improv was the 285e Frequency Shifter. The main audio from the 292e out mix (which contained the output of 4x separate VCO's)was sent split into the 285e AND into a RE-301 Tape Echo/Reverb.

The RE-301 was used for Reverb,  Echo and "Sound on Sound"

The recording was a one-take straight into the computer (via some mild Lindell Audio 500 series EQ & Compression). 

Manual control of the RE-301 feedback and levels... and you get this Sci-fi drum circle jam.

Frequency Of Timing Or Not

17-out-of-19EDO bright objects

Uploaded with AudioShare app - http://kymatica.com/audioshare

eu̯dai̯monía

Blunt-edged

kalanchoe

Lost

Echoic Memories (2019)
MVT I: 0:00
MVT II: 19:25
MVT III: 33:30
MVT IV: 45:58

*live zoom recording

a mobile pocket opera in 4 movements 
for mixed ensemble (9) + radio transmission
composed for the 10th edition of Music@VillaRomana festival
composer - Keiko Devaux
Manuel Zurria, flute
Georgia Privitera, violin
Laura Bertolino, violin
Francesco Vernero, viola
Aline Privitera, cello
Francesco Dillon, cello
Francesco Platoni, double bass
Emanuele Torquati, radio (AM)
Simone Beneventi, percussion
Riccardo D. Wanke, radio (AM)

+4 radios (AM/FM) and 2 radio transmitters

Echoic memories is conceived as a singular long-form piece/audience experience of approximately 60 minutes, consisting of three different movements structured around the physical layout and performance spaces of Villa Romana. Each space acts as a movement, or 'variation,' of musical gestures that recur and transform throughout the piece, interacting with the changes in locations and instrumentation. It is a mobile performance where the audience changes locations and the different ensembles and movements overlap, beginning and ending their respective movements as the audience transitions between locations. This mobile interaction allows the composition to explore both the locations of the musicians in each movement's ensemble, and the position of the audience themselves as they move toward and away from the sound.

This piece is focused on audience experience and how time, sonic distortion, and spatial context inform our perception, amplifying and unveiling different elements and layers of recurring material. The movements act not as linear developments of musical material, but as distorted 'variations' and spatial transpositions of the same experience.

audio recording: Federico Perotti
video: https://www.youtube.com/watch?v=QjBTJRIdvMU&t=2871s&ab_channel=FrancescoDillon
a/v editing  Fausto Pizzocchero

ECHOIC MEMORIES (2019)

A special ident recording for Vinylograph's "Tonbildpostkarte" series.
This is a stereo version featured on the retrospective compilation "A STOPG  P   ND A BRE  THING SP  CE", out on October 25, 2020

Noises and loops by Iv/An
Recorded and produced in The Room, October 2019
Kindly mastered by Miro P.

For more of Vinylograph, please visit 
www.vinylograph.at or www.vinylograph.bandcamp.com

Klang Hören

I've recently discovered (at long last) the music of Danish composer Per Nørgård. He developed a compositional techniques based on what he called the "infinity series", which is a simple formula for developing a series of numbers based on an interval such as a minor second. The series takes the initial interval and then slowly expands upon it both upwards and downwards in pitch, getting broader in scope as it progresses. This idea can be used to generate melodies, rhythms, or other aspect of a composition.

I decided to try playing around with this, but applying it to microtonal intervals, using Csound and a Python script to generate the Csound score according to the series. I ended up with this brief study, which takes the first 256 terms of the series and applies it to three of my favorite intervals simultaneously:
 - 9/8 (major whole tone from the 9th harmonic)
 - 11/8 (unidecimal tritone,from the 11th harmonic)
 - 7/4 (septimal minor seventh, from the 7th harmonic)

The starting tone (240 Hz) plays throughout the piece as the other notes unfold above and below it. I used sine waves processed with a touch of tanh distortion to add a slight amount of harmonic content.

Csound and Python source code: https://github.com/DaveSeidel/music-src/tree/master/infinity-study

References:
 - https://en.wikipedia.org/wiki/Per_N%C3%B8rg%C3%A5rd
 - https://web.archive.org/web/20071010091253/http://www.pernoergaard.dk/eng/strukturer/uendelig/uindhold.html

Infinity Study

Trio for harp, flute and viola

Performed by Ghost Ensemble at Areté venue and gallery, Brooklyn November 2019

Margaret Lancaster(flute)
Lucia Stavros (harp)
Carrie Frey(viola)

After some time away from composing notated music, being occupied more with open and text scores, the lovely Ghost Ensemble approached me for a piece, and what came out is an actual score and this lovely performance in November 2019. 

Thank you Ben Richter and Ghost Ensemble for organizing this sensitive, nuanced and thoughtful performance of a piece that could have gone many different ways.

Please write me if you'd like to take a look at the score!

Trio for Flute, Viola and Harp

A quick jam using 2 instances of TAL Baseline 101 (a monophonic bass track, and polyphonic pads). The TAL synth is being controlled by a Roland SH-01a, which works really nicely as a controller.

ValhallaSupermassive used for reverb and 1/8. echo. FreqEcho used for phasing. ValhallaDelay used on the mix bus to add some saturation and wobble.

Frequency Of Timing Or Not

Djangosfire

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