This is a short piece experimenting with sampled audio editing in Logic Pro X.

Sound Experiment 2

This is a short piece experimenting with original recorded audio manipulation in Logic Pro X.

Sound Experiment 3

This was the first electronic piece I ever composed and was made with only sounds recorded on my iPhone that were then cut, pasted, pitch-shifted, time-stretched, panned, etc. in Amadeus Pro and Logic.
(Headphones or good stereo speakers recommended due to very low frequencies and panning)

Untitled Musique Concrète Piece

This piece was made and played in real time with a Max/MSP patch that I created. The patch includes various synths and sample triggers that played found sounds I recorded with my iPhone. The final cuts of audio recorded straight from Max were all put together on Logic.
(Headphones or good stereo speakers recommended due to very low frequencies)

Untitled Found Sound And Synthesis Piece

This piece was the culminating piece of my first semester at Columbia University, and it marked the end of my first series of electronic pieces I composed.  The concept behind this piece was rooted in a goal I had made to myself a year prior to making this.  When I first got interested in the concept of making electronic music (long before actually doing it), I was fascinated by the idea of the sample and the found sound, and I had this dream to make a piece of sounds that I had recorded in NYC, assuming this was a great, nearly insurmountable task.  However, when I looked back on this thought, it was clear that with the tools I had learned the past semester, this task would make for a good challenge, but one that I could definitely handle.
This piece was created using only samples I recorded on a Zoom H2n that were edited in Amadeus Pro, and then placed into a Max patch. The max patch I created for this piece is able to automate the delay, panning, and speed of any of the samples I load in, and the piece was created using only this one patch. On it are various sounds ranging from tables being banged to two of my friends singing short vocal refrains
(Headphones or good stereo speakers recommended due to panning)

Untitled Max/MSP Piece

This is a piece I made entirely on Logic using both MIDI and audio.  
(Headphones or good stereo speakers recommended due to low frequencies)

Untitled Logic Piece

This was the culminating piece of my freshman year at Columbia University, and with it I wanted to reflect upon how the way I look at music and sound has changed over the past year, as I have moved from live instruments (bass guitar) to electronic composition (Max/MSP and Logic).  I wanted to explore how far we can really take everyday sounds with the use of computers and electronics, and how we can reorganize and reshape the sonic world we live in to create art, as well as my amazement in that we can create sounds purely from electronics (synths) that could never exist in the "real world," thus truly creating sound.  However, I also did not want to forget the intrinsic beauty of pure sound itself, and I tried my best to pay homage to that.
All of the original audio was recorded using my H2n mic, and then loaded into Max/MSP, and manipulated using various patches in conjunction with a Monome 128.  All of the other audio (the drone in the grate/melodica section) was generated with simple synthesizer Max/MSP patch that I created for this piece.  Then all of the final audio was mixed and compiled on Logic Pro X.
(Headphones or good stereo speakers recommended due to low frequencies)

Untitled Monome and Max/MSP Piece

I made this piece using both Max/MSP and logic.

Reflection

I started working on these two tracks based on a simple thematic concept of “The Guide.” I wanted to pull the listener through various spaces that were artificially created from real sounds. So I decided to use various field recordings from around my house in Weston, CT for the first track and from Hartford, New York City, Chicago, and Boston for the second. I created the synths from scratch, using Cycling74’s Max/MSP. 

While the field recordings were composed, the synths were completely improvised over the field recordings. Although it was important to me how carefully constructed the soundscapes were, I still wanted to access the emotions I believe can only really be accessed through improvisation. 

The cover art was done by my exceptionally talented younger sister Julia Silbert. 

Thanks to Gary Xu for all his help. 

And I also wanted to give a huge thanks to Maurice Marion for mixing and mastering The Guide, as well as giving me crucial artistic advice. 

*Best listened to on headphones*

Jesse Silbert

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