Nord MicroModular noodle mix demonstrating use of enveloped feedback into vowel filter on the verge of oscillation. Random durations on envelopes and other parameters. Uses a pulse out (possibly a comparator) out on envelope finish to trigger the next event. Patches use multiple voices giving variable polyphony and happenstance.

Jr 1007 131113.WAV

3rd Prize at Iannis Xenakis International Electronic Music Competition 2025

PROGRAM NOTES 
Everything you hear in this piece tonight is not real. Here’s a sonic kaleidoscope unfolds before your ears, made of synthetic reflections. Sound after sound is extracted from the human collective memory. Composed entirely of generative AI fragments—hundreds of them—this piece uses an algorithm that has hoovered up the music of every artist ever recorded, non-consensually incorporating it into an artificially constructed representation of collective memory. Feeding this algorithm with fragments of my own music spits out a conjured stream of sound drawn from the codified collective mind.
But do not be fooled. 
This is not Music.
This is Fake.

 
ADDITIONAL INFO
AI-Generated Fragments as Synthetic Reflections of Collective Memory

"Fake" (2024) is a multi-channel electroacoustic non-music piece created entirely using AI-generated fragments. By feeding a generative AI algorithm segments of the composer's electroacoustic composition “Cosmodemonia” (2022) the work explores artificial intelligence as a vessel for representing collective memory. 

The resulting composition presents a sonic kaleidoscope of synthetic reflections extracted from human collective memory, questioning notions of musical authenticity. 
The compositional methodology combines generation, collection and organization of AI-generated fragments and their spatial distribution.
The work reexamines the concept of what is “real” in music; it is an acousmatic narrative in which each element may be a fragment of the past or a simulacrum of the present.
The listener is invited to navigate—through perception—a constructed sonic kaleidoscope of synthetic reflections drawn from the human collective memory, composed entirely of over 300 generative AI fragments. All of them generative reflections on the composer’s work, 'Cosmodemonia'.
Whether or not it qualifies as music, it is a reflective commentary on the deep learning representation of collective memory, and the act of attributing musical meaning to organised sound.  
Spatial counterpoint is developed through spatialization of the generative layers. The structure creates multiple, simultaneous spatial trajectories—each representing a discrete fragment of collective memory, a distinct presence in the overall soundscape.
A sonic battle of ideas unfolds between structured, stable sections and bursts of chaotic energy—emerging from interconnected chains of thought within the latent space of AI memories—a reimagining of traditional counterpoint in a multidimensional synthetic sonic space. Spatial choreography guides, misdirects and then redirects the listener’s attention—up, down, across.

Μulti-channel Εlectroacoustic Νon-Μusic

Fake (2024)

A track using my modular set up inspired by STS-21 Semipalatinsk (The Polygon)- More about STS can be found on Wikipedia

Just a doodle with a new Folktek Matter module

Folktek - Menagerie No. 1

Schema I

Recorded May 28th 2015. Modular live performance at Mutek. 


RICHARD DEVINE presents DISTURBANCES (US) 
NOCTURNE 2 :: GLEAMINGS AND BEAMINGS
Thursday, May 28 - Musée d'art contemporain de Montréal

Modular synth master Richard Devine’s music moves like a slightly unhinged force, in rapid clicks and metallic thrums or funk addled scattering beats. An Atlanta-based producer with full length releases on Warp, Schematic, Sublight and Detroit Underground in the past 15 years, as well as an accomplished sound designer and maker of synthesizer kits (among soundtracks and samples, he’s built an expansion pack for Moog Music’s Animoog app), Devine made huge professional inroads in the digital realm, yet recently felt called to the modular and analog in his own music. Constantly reconfiguring his own hardware systems, Devine creates music by processing layer after layer of sounds derived from hip hop, pop, field recordings and electronic tracks; and in 2013 released his own official sample library, The Electronic Music Manuscript, through Sony Creative Software. Performing live, he’s equipped with an enviable arsenal of sounds and the ability to manipulate them to his experimental liking, constructing a sonic experience that’s never the same twice. MUTEK 2015 marked Devine’s first live modular set in Canada and the premiere of his “Disturbances” live patch, custom built for organic on-the-fly songwriting, from abstract ambient compositions to rhythmic bombardments.

Presented by Moog Audio - www.moogaudio.com


Richard Devine - Disturbances- Live Modular Set - Mutek 2015

Quadrophonic performance of Live Electronic Music, presented here in stereo. Thanks to Lawrence, Christian, Lillevan, Andrew, Mike, and all at Carriageworks.

Carriageworks Redactions & Generators

Some cinematic sounds made with a Serge NTO for Eurorack driven by logic and a Microbrute (CV / GATE out). NTO run through a Serge VCFQ into a Random*Source Stereo Mixer. Slopes courtesy of Serge DSG mk2. Recorded with a Metric Lio 8. Cut and layered in logic. And yes, reverb was added ;-)

Soundcloud compression seems to have quite a negative impact here, download 24 bit/96 kHz files to get the full sound.

Serge NTO - sequenced

A five minute excerpt of each of the six pieces on the "Late Monoliths, 2011-2013" boxed set.

https://broken-music.com/products/keith-fullerton-whitman-late-monoliths

Late Monoliths, 2011-2013

(2018) for string quartet, 6 channel tape, PVC tubes, and DMX lights

live performance recorded on April 5, 2018
by Spektral Quartet
CHIMEFEST
Logan Center for the Arts
University of Chicago
Chicago, IL

mixed by Ted Moore
CHIME Studio
University of Chicago

circle by Ted Moore

Electronic music. Ambient. Experimental. Saxes and Clarinets. Test equipment.

https://handmadesound.bandcamp.com

Schema I

John Biddulph handmadesound

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