https://araelbow.com/

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araelbow.com

permanently unreplenishable

paassetpitcihce

that one something

os runescape dub_20251014

marvelous

a collection of curious experiments and nuanced emotions from the last few years

watch the full audio-visual mix on YouTube: https://youtu.be/k1jsk_8yn9Q
visuals provided by Noah Green: https://temberl.in
aired live October 25th, 2025 via https://boneyard.camp

00:00 - Alexander Panos - sun monolith
02:22 - Alexander Panos - selling rings 
02:38 - Alexander Panos - pictorial
04:31 - Alexander Panos - s[h]continued standing
04:47 - Alexander Panos - mel
05:02 - Alexander Panos - anti\limerick
05:17 - Alexander Panos - room mic destiny
05:31 - Alexander Panos - ID
07:49 - Alexander Panos - ganz astonish
08:04 - Alexander Panos - pink in june
08:22 - Alexander Panos - you are held in a kiln
09:52 - Alexander Panos - wind wool
10:06 - Alexander Panos - porrima  +  György Kurtág - Scenes from a Novel (Mov. 1)
11:31 - Alexander Panos & voljum - Preliminaries 
11:47 - Alexander Panos - inextricable
14:00 - Alexander Panos - a warm day, a misfortune
14:14 - Alexander Panos - wallwater promises

➤ https://alexanderpanos.com
➤ https://linktr.ee/alexanderpanos


I've been finding myself overcome by fragmented memories: the pang of the seasons turning, dreams that linger for days, events and relationships whose mythologies bear no resemblance to the real thing. I think this music reflects that, in a blurry sort of way. Qualities that once anchored my music have become desaturated. Everything’s more subtle, like a furrowed brow and a grin meeting for a fleeting moment on the same face.

This is music I’m still quite shy about. It took a long time to allow myself to start taking these feelings and ideas seriously, but they are a part of me, and always have been. It’s with great hesitancy that I share any of it, especially as my usual mode of operation is sequestering my work away indefinitely. I’ve recently entered a new chapter, unsure of how it will unfold, but trying to learn as always. I’ve stood here before under different circumstances, and I’m sure I’ll be back again.

All music is currently unreleased and is subject to change. Please respect this music in its unfinished state.

alexander panos @ camp boneyard 4

cut track from Harmony Riley Road (circa jan. 2025)

?: §erver

Six Three
1: Six Three, 02:32
2: Six Three Touch, 03:00
3: Six Three Orbits, 03:39
4: Six Three Particles, 02:13

Dates:
05-Dec-2025 (inception), 06-Dec-2025 (finalised), 07-Dec-2025 (released)

Artists:
Music composed, performed, produced by Norman Freund
Artwork by Norman Freund

BandCamp Purchase:
https://normanfreund.bandcamp.com/album/six-three

SHORTEN VERSION, excludes Table 1 tuning, see my BandCamp site or my social media page for full details (https://www.facebook.com/norman.freund.545/)

Description:

Marcelo Leal Ref. [1] posts an article on FaceBook group, "Microtonal Music and Tuning Theory" and tags me, I looked on with interest. A tuning scale developed using at most harmonics one through to and include sixty three, octave reduced (i.e. divided by powers of 2 to ensure the frequency ratios remained within the 1. to 2. range. 32 Notes were used in this scale with adjacent note intervals starting from 53 cent, gradually reducing to 27 cent for the last interval to the first octave. So loosely speaking a quarter tone tuning with some stretching. I have tried quarter tone equal divisions of the octave tunings (24EDO) in the past and could not really get warm with them. Still, I was intrigued. 

Thirty notes, a lot of intervals to imagine, so I thought some form of colour coding on my Ableton Push2 midi controller would help. My Digital synthesiser, PulseRectOsc has micro-tuning and a user definable colour table, so switched this on and began experimenting. Stepping back just a bit, some preparation work on a spread sheet was necessary to calculate the frequency ratios, figure out a colour system using nearest 12EDO notes as a frame work.

The colour coding was to start the root note out as RED (1), colour all the diatonic notes of the nearest 12EDO major scale notes (the white keys on a piano) in GREEN (10), colour the nearest 12EDO sharp accidentals (#) in BLUE (15) and what was left over (the ^ and \/'s) coloured in PURPLE (18). The note naming convention used here was intended as a performer guide.

The PulseRectOsc synthesiser is a drone with a pulse like wave shape, amplitude modulation, wave folder distortion, a delay+feedback net work and your choice of VST reverb (or other effect). I used the Native Instruments' Raum for reverb. PulseRecOsc has an eight track audio recorder, so I recorded some four note chords to improvise over on the Soma Lyra 8.

The Soma Lyra 8 tuning approach was to tune it by ear to eight notes from the Table 1 tuning for the first track prior to the performance, then improvise a melodic line. Subsequent tracks would use a different four note drone chord from the PulseRectOsc and the Lyra 8 would use the tuning from the previous track as a starting point but alter the tuning during the performance. Each performance would introduce additional entropy into the tuning as performed on the Lyra 8, all done live, by ear, during the performance.

Each track's duration was purposely kept short, I wanted to demonstrate the various flavours of the 63-Limit Otonality tuning and in Lyra 8 style interpret this tuning organically.

The signal chain for the Lyra 8: mono out to the Soma COSMOS (rhythmic firmware, adds reverb and stereo space) -> stereo to digital interface -> 8 track recorder of PulseRectOsc.

The tuning of the Lyra 8 is very organic, is influenced by adjacent oscillators and has a "MOD" dial to accept frequency modulations from what it calls a "Hyper LFO". The Hyper LFO comprises of two low frequency oscillators, I used them here in the OR mode not synchronised, each pulse of the LFO changes the oscillator voice frequency according to the MOD dial. You don't control it strictly, more like guiding it, you listen and decide to increase or decrease the amount of modulation. A very organic approach.

References:
[1] Marcelo Leal, 5-Dec-2025, 63-Limit Otonality by Pitch (tuning scale). FaceBook group "Microtonal Music and Tuning Theory" Link: https://www.facebook.com/share/p/1asmaHiK7G/

that one something

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