Name: Tibet (Section 2) by jrossmusic
Duration: 6 min 45 s
Description: Layered Tibetan bowl samples pitch shifted into intervals and chords in 7-limit just intonation. This is section 2 of 5. This part is drones combined with friction sounds created by adding grains of rice to the vibrating bowls. Harmonic movement is from a pitch center of 9:7 to 7:4. Based on a tuning by David Beardsley. From 2009.

lovely ambient texturing. i wonder if we idealise tibet a little. most likely they are the same as us, ie dangerous. but lovely track , I come back to that

serene vibes  beauty !  thanks for shared James !

@feedinggoats: Hey, Michael. Thanks for listening.

oh..a wonderful soundscape for a new springmorning in Oslo...and so exotic and light and wonderful new....thank you for this magic...

yes...wonderful...light and air..so uplifting....

Emptied

a riff that led to a piece, from the Feb 01 2014 Looming session of the now named trio RGB Hex featuring James Ross (guitar/efx), Joseph Benzola (drums/world beat percussion), Jim Goodin (violin/efx).

a Far

A DADGAD tuned madrigal about the artist's habit of liking "Girls who are a little bit bent."

From the new album, "Sketches of Spam" (Bad Egg Records 30003)

Recorded and Engineered at Houseboat Garlic Knot and Parchessi Studios. Additional engineering and mastering Bob Stander.

Time Out New York says: "Cataldi's largely instrumental, Eastern-influenced jams are infused with some delicate guitar work and hauntingly moody atmosphere." Newsday adds: “Mad scientist-guitarist-keyboardist Cataldi has unleashed another project on an unsuspecting world which brings the funk and throws it in a mixer with electronica, bebop and blues.” Called "a stimulating soloist" by the The NY Press, "triumphantly funkified" by UPI, "a jazz virtuoso without the need to prove it" by Aquarium Weekly.


"Wild One" - from the album "Sketches of Spam"

This sound work explores the concept of unevenness. Developing some dynamic articulations of different sound elements, juxtaposing, fragmenting and texturing, giving relevance to minimal sonic elements that are in the boarders of the system reproductive capability, generating sonic immanence and disturbance. The sonic materials is based in field recording and digital granular signal processing. Using synthesizer technical and collage methodologies, focus in pitch manipulation and amplitude, to fiend secondary sound quality in a non-sonic and non-objectual dimension of the materials and substances, approaching reality as a dynamic vibration camp of intangible constituents.

Author: Hugo Paquete
Year: 2015

Unevenness: Hugo Paquete, 2015

First of four movements for electric guitar and string trio.

Performed by Angus Barnacle guitar and the Ysaÿe Trio: ysayetrio.com

Image: "Aurora Borealis" by NASA - spaceflight.nasa.gov/gallery/images…006e18372.html. Licensed under Public Domain...

Violets

A track exploring the combination of acoustic instruments with electronics.
Guido - Electronics
Adrian - Zither, Banjo, Violin

Backlit And Diffused

Marco Lucchi | piano and digital treatments

4 giugno 2016

rowing through
out of the mist
the wide sea

Marco Lucchi - Rowing through (Naviar Haiku 126)

When you burst into semi-waking state at 4:30am, sometimes strange sounds are emitted.  but you have to hover in that subliminal state between the dream world and the default reality.  i used an app with 'start recording on opening' feature.  later added guitar and some reverb to the track.

The wind before dawn

this was the first version of this song.  client didn't care for it.  wanted it to be more up-beat.  the final version is posted also.  i can't figure out drums.  tried to make the drum track just by playing the keys.  terrible eh?

Sense Of It All - SlowVersion

for all that you show me, it's hard to see past the krap

I Can Barely See You

Layered Tibetan bowl samples pitch shifted into intervals and chords in 7-limit just intonation. This is section 2 of 5. This part is drones combined with friction sounds created by adding grains of rice to the vibrating bowls. Harmonic movement is from a pitch center of 9:7 to 7:4. Based on a tuning by David Beardsley. From 2009.

Tibet (Section 2)


<a href="http://stevemoshier1.bandcamp.com/album/adrift-james-ross" rel="nofollow" target="_blank"> New Release: "Adrift" on the Innocent Hand Recordings netlabel.</a> 


HOT VIDEO ACTION ... well, video ... :

<a href="http://youtu.be/QT3zkjUhJw0" rel="nofollow" target="_blank">Object I</a>

<a href="http://youtu.be/ZSisjFRMqNI" rel="nofollow" target="_blank">Wave</a>

<a href="http://youtu.be/Vg4-W-tFanM" rel="nofollow" target="_blank">Flock</a>


James Ross is a guitarist and composer living in Brooklyn, N.Y. Originally from Pittsburgh, Pa., he has studied guitar at the University of Pittsburgh and the Mannes College of Music in New York City. He has studied sitar with Pandit Krishna Bhatt, and North Indian classical music and composition with La Monte Young and Marian Zazeela.

A composer in a variety of genres, James has written music for orchestral and chamber ensembles, as well as solo music for the guitar and the zhongruan (a type of Chinese lute). He has also performed and recorded electronic and improvised music.

Recent performances as a composer and performer on the electric guitar, laptop and other instruments include sets at The Bell House; at the Small Beast at The Delancey with percussionist Joseph Benzola; a performance with Kyle Bobby Dunn at Issue Project Room; at Pianos with Richard Lainhart; at Glasslands Gallery with Michael Vincent Waller; at Goodbye Blue Monday with David Beardsley; providing live music for Katherine Liberovskaya and Ursula Scherrer’s OptoSonic Tea series at Diapason Gallery in Brooklyn; with video artist Alex Carpenter at The Tank in Manhattan; and at Damrosch Park at Lincoln Center as part of the guitar ensemble for Rhys Chatham’s “A Crimson Grail.” A recording of the "Crimson Grail" performance was released on Nonesuch Records on Sept. 14, 2010.

As a classical guitarist, James has performed as a soloist and ensemble player throughout the Northeastern United States. He received a Solo Recitalist Fellowship in 1992 from the Pennsylvania Council on the Arts and won the 1993 Mannes College of Music Concerto Competition, resulting in a performance of Joaquin Rodrigo’s “Fantasia para Gentilhombre,” at Symphony Space in New York City.

Tibet (Section 2)

jrossmusic

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oddrun eikli

oddrun eikli

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