I understand very little of your track description, bit too technical for little old me, but I know this sounds really good!

Really enjoyed this. i am curious to hear what the lowest possible frequencies would sound like also.

the shape of it

This week's Junto project was well-timed for me as I am currently reprogramming my sound installation "feedback bowls" for an exhibition this week, adding in more collections of pitches for the filters in each feedback loop signal chain. (more about the piece here, which Marc graciously shared on disquiet.com a while ago: https://soundcloud.com/jasoncharney/feedback-bowls)

Each filter setting multiplies a base frequency by a collection of (decimal-approximated) ratios to distribute among the 8 bowls' filters, so I created a setting that had a combination of the correct/mistake microtones (in two octaves), and slowly moved the base frequency up from around 400 Hz to 900 Hz over the course of my experiment, letting the algorithms continue to change the delay times of each bowl's signal chain dynamically. I recorded the results and mixed it down to a stereo image. No other effects were applied.

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More on this 214th weekly Disquiet Junto project (“The Assignment: Bring to the fore the distinction between two specific microtones”) at:

http://disquiet.com/0214

More on the Disquiet Junto at:

http://disquiet.com/junto/

Join the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Disquiet Junto general discussion takes place at:

http://disquiet.com/forums/

The image associated with this project is from Alain Danielou’s 1958 book Tableau Comparatif des Intervalles Musicaux, found via Kyle Gann. Major thanks to Ethan Hein (ethanhein.com) for helping word the project assignment.

feedback bowls: (1/1 - 569/512 - 567/512)[disquiet0214-microtonalerrata]

technical test turned into composition. first result of getting sounds out of the 1980 CBM 8032 computer. massive cloud of Lexicon 480L reverb in 2nd part and a low sine wave generator. The rest is pure 8 bit.

http://www.roberthenke.com/installations/8032series.html


8032 Alpha

"…ce dangereux supplément…" is a set of phonetic studies for voice, video, and electronics. A suite of three pieces [(tRas), (spɛktʁ), and (sɑ̃dʁ)] the work is based on a close examination of the sounds used in everyday linguistic activity, which are juxtaposed against more extreme vocal effects. The live performance is supplemented with electronic voices which stretch and transform this common vocality. The visuals range from rapid-fire successions of symbols from the International Phonetic Alphabet, to more suspended meditations on elaborately arranged orthographic tapestries made from the same symbols.

"…ce dangereux supplément…" is a poetic rehearsal of the Derridean supplement, that unbelonging excess in a binary opposition which is (contradictorily) crucially indispensable. This takes place throughout the work via a dialectic between linguistic articulation (consonants) and voiced intonation (vowels). While moving between these two poles, the performer acts out a futile search for the primary referent (or "master signifier"), but eventually realizes all that is to be found is an infinite hauntology, a spectral chain of traces, specters, and cinders.

Recording with visuals:  https://vimeo.com/156198149

“…ce dangereux supplément…”

Performed by Jacob Sachs-Mishalanie and Jon Singer , December 15, 2015. Elebash Recital Hall, CUNY Graduate Center, 365 5th Ave, New York, NY 10016. 7:30pm.

Info: http://jsmishalanie.com/music/piece-for-eight-microcassette-recorders/


PIece For Eight Microcassette Recorders

Medical text pp. 57: Age is an aggressive, virtuosic, and remarkably vulnerable piece crafted around the text found in the educational tome Cyclopædia of Practical Medicine Vol. 1 published in 1845. 
The chapter that this piece addresses is on the topic of age and its effects on the body through the multiple stages of life, beginning with nascent burgeoning growth and advancing to eventual unerring onset of decay. This piece manipulates the coherence of text and plays off of humanities want to comprehend speech in voices, often crafting phones and consonants that are similar to speech but contorting them beyond understanding. When juxtaposed with recognizable text and married with a plethora of timbral driven gestures and extended vocal techniques, smooth transitions between nonsense and meaningful text help to drive the piece through continuums of obfuscation and clarity.

Medical Text p.57 - for voice and live electronics

composed by Jason Charney

Amish community worship includes singing from the Ausbund, a 16th c. collection of hymns. The book contains no musical notation, only texts from the old Swiss Anabaptists. The tunes are passed orally in true folk tradition, generation to generation.

In practice, each hymn begins with a call from the Vorsänger, and the entire congregation responds - singing loud and slow.

Ausbund

Please Charge Roomba

Written for Sam Wells for the first annual SPLICE Institute at Western Michigan University.

Grain Elevator - For Trumpet and Electronics - Performed by Sam Wells

Arr. by Wesleyan University's Toneburst Laptop & Electronic Arts Ensemble, feat. Jennifer Beattie & Matthew Evan Taylor

feedback bowls: (1/1 - 569/512 - 567/512)[disquiet0214-microtonalerrata]

Jason Charney

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