130721 V004a 16bit

180721 V03a 16bit

240721 All New Version 03

070821 Raw V03a

trying out a new combination of pedals, compressor, pitch shift, freeze, delay, Adrenalinn, reverb all recorded into a looper as the final draft

010215_Clean_Swells

Another piece using the Ditto X2 as a hard disk recorder, just having overdubs only concentrates the mind. The Korg monotribe is a useful source of drones especially when combined with the EHX Freeze (noisy but fun) and the Adrenalinn (recently upgraded) pings the signal about in the stereo field. Additional sounds come from a guitar through the pedal board.

10215b MonoDrone

Ambient resequenced guitar swells using a ditto X2 to record, post produced with Pure Data and Audacity. 

EmDCG 63 V02

Using Pd I created a random backing track and then played guitar through a number of effects pedals live over the top, all in G at 160bpm.

G160 230315

The audio is driven from a random selection of letter sounds (written in PureData) and short samples based around an E11 chord. The audio drops into compressed mono when the random letter generator hits the NOISE combination.


NOISE V014L audio

Soundtrack from my video Maps of Flatter Worlds (Vimeo). My video work is an attempt to make animated paintings with audio, which fits within the cannon of abstraction. Hence the revisiting of a painted image and the push to resolve the impasto of the original with a halftone version, which is subsequently recycled as a 3D deformation map. So a third surface is created, which is related but detached from the original source material. The audio uses a generative synth patch inspired by Thomas Hammer (Waveformer) check YouTube for more on him.

Maps Of Flatter Worlds

My compositional technique is to create a series of chance based generative sequences that can be re-ordered, processed, sampled and layered. I use guitars, synthesisers, effects pedals and found sounds to create the initial building blocks of piece. I aim to keep sequences around the two minute mark out of respect of the listener. The process is dependant on a combination of accidental combinations and aesthetic judgments. After selecting the most suitable sections of notes, midi data or sound, the sections are then reordered according to pre-defined rules, sometimes randomly or partially conditioned by Pure Data patches written specifically for each piece or project. 

My palette of sounds comes from guitars, synthesisers and samplers. Some of the sounds are sampled sounds, some are found sounds that are heavily processed, and some come straight from hardware or any combination of these. I make extensive use of looper pedals and delays. I try to work fast and not fix every imperfection. 

I'm looking for a musical outcome, but not a traditional harmonic or narrative one. I believe that each piece should be logical and consistent within itself. The use of generative patches and reliance on accidental and deliberate juxtaposition to make sound is a personal journey. It is an exploration that deconstructs and re- sequences audio within a subset of variable conditions.
  

Karman Lyne