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Marco Lucchi - Synth
Filippo Panichi - Guitar

Marco Lucchi & Filippo Panichi - The High Tide is Taking Everything

Marco Lucchi - organ and synthesizers
Filippo Panichi - guitars, drum machine, bass synth

Marco Lucchi & Filippo Panichi - Triumph

This track was made as a contribute to Zoviet France open remix project https://soundcloud.com/zoviet-france/sets/hidden-by-the-wall-open-remix
The samples were live scrambled together with Lyra 8 synth (also played live), using a software called Forester, made by Leafcutter John. The result was recorded direct to disk, so no editing

ZF 23 24 7

There are some beats here, just for a change. They are made with some silicone membranes whose normal use would be to cover food bowls. Soma ROAT and Aqusmatiq Dedalus Delay add a little of controlled chaos.

≸ }{ P ͣ }{ 42 °•  ⩨

One of several improvisations that i recorded in the attempt to build a live set based only on a guitar and effects, that doesn't sound like guitar music. So far I haven't been able to avoid some...ehm...guitar playing, so I keep trying 🙂

sifting the sand

Sifting The Sand

Some time ago i noticed that both me and Gianluca Favaron had made 2 tracks with the same title, Duning-Kruger Effect. So i had this idea of cross-breeding the tracks to make a (Dunning-Kruger)² track. This was made in a sort of dada way, applying to the 2 files a process intended to do something else: the "ambience" of one track is superimposed on the other using the process called Falltung in zeit from the Akra Rabelais' app, ARGEÏPHONTES LYRE (https://akirarabelais.com/al/). The track by Gianluca that you can listen here https://abshe.bandcamp.com/track/dunning-kruger-effect was "applied" on mine, that's here https://soundcloud.com/f-p/dunningkruger-effect

Micarea bauschiana

Micarea Bauschiana

when I change guitar strings I don't cut the part that is left over, like civilized people do, but I leave it and use it sometimes to make noises or to stop some strings from playing. In this case I "played" only these pieces of string, without touching the guitar

offshoots

Synth analogico (Dark Energy), effetti, registrazioni e interferenze radio da qui: http://websdr.ewi.utwente.nl:8901/
Non ci sono fade perché è un loop...
Analog synth (Dark Energy), effects, radio recordings & interferences from here: http://websdr.ewi.utwente.nl:8901/
There are no fades because it's made to be looped...

Dunning–Kruger Effect

Prove per un live set che è venuto completamente differente. Mixer e scatolette. Niente laptop.
Reharsals for a live set that came out completely different in the end. Mixer, stompboxes, lo-fi synths. No laptop. No edits.

4 Sketches On Incompleteness

The first track of an online collaboration with John Hudak. This is made by my raw material reworked by John. More to come...

Coffee deers? (with John Hudak)

certe volte le parole assumono un valore affettivo, no? Ci sono cose che piacciono per il suono, altre perché sono legate a un ricordo o magari per la loro sentita imperfezione. Questo è il caso ... il testo è scarsamente comprensibile e mescolato a varie cose che potrebbero non entrarci niente, ma non è importante, va bene così

Caldi tesori felini

I haven't used samples for some time. I wanted to do it in a way that was new to me, without using samplers, sequencers, or granular synthesis. So I tried to use a new feature added to Akira Rabelais Argeïphontes Lyre's software, which is called Kinbakubi. It's layering of samples in which each layer has a start time and a period, attack, decay defined for each layer and some fx. Every of these actions has a chance component too. So every "execution" is slightly different, no matter of how much control you try to have. The funny thing is that when i obtained the result that i was searching for, the file was named after a wine that is produced not far from where i live in Italy. So i left that title. The image is a bottle of that wine processed through the same software.
Oh, i was forgetting to say that this track was made for Soma Laboratory contest https://somasynths.com/https://somasynths.com/
and therefore uses the samples they gave for the occasion, made from their instruments

1995 Tenuta dell'Ornellaia Masseto Toscana Rosso

This is another track made with samples and Akira Rabelais' Argeïphontes Lyre. This as 1995 Tenuta dell'Ornellaia Masseto Toscana Rosso was made for a contest organized by Soma Laboratory https://somasynths.com/
I chose the other one because it was more atypical for me, but i was quite uncertain

A Sudden Gleam Of Insight

A sort of mating between the track Totentanz by Henrik Meierkord with Marco Lucchi and a stainless steel railing played by me as an instrument.

Henrik Meierkord : cello, hurdy-gurdy, violin, fx and electronics
Marco Lucchi : analog synth, tape and mix down
Filippo Panichi: Argeïphontes Lyre
music by Henrik Meierkord and Marco Lucchi
here the original track: https://soundcloud.com/marcolucchi/totentanz
* based on "Średniowiecze II" by Henrik Meierkord
https://soundcloud.com/enrikeierkord/sredniowiecze-ii

zuɐʇuǝʇoʇ (Henrik Meierkord & Marco Lucchi)

Down The Long Drive And Then Northwards Along (from piano pattern no.2 by Marco Lucchi)

Charme His Eyes Against She Doth (from piano pattern no. 2 by marco Lucchi)

One of the sounds i used in Damp in its "solo appearance". Simply the same aluminium lampshade of PLASMA I, hit with a stick and filtered.

Uno dei suoni che ho usato in Damp nella sua "apparizione solista". Lo stesso paralume di PLASMA I, ma percosso ed effettato.

Pmad

·sʇuǝɯᴉɹǝdxǝ ɔᴉʇsnoɔɐoɹʇɔǝๅǝ ⅋ ʇuǝᴉqɯɐ ʻǝsᴉou ǝpɐɯǝɯoH.
More https://soundcloud.com/groundloops

Filippo Panichi

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