Bug Boss

Superpyth temperament can be thought of as a mirror opposite of meantone temperament. In meantone temperament four fifths reduced an octave is equated to the 5-limit just major third 5/4, where 4 pure fifths of 3/2 reduced an octave give 81/64, larger than 5/4 by the meantone comma, 81/80. In quarter comma meantone each fifth is flattened by a quarter of this comma so that four of them reduced an octave give an exact 5/4 and the meantone comma is tempered out. In superpyth four fiths reduced an octave is instead taken to be equivalent to the septimal, supermajor third 9/7. Two fourth then give the harmonic seventh 7/4. In quarter-comma superpyth  each fifth is sharpened by a quarter of the archytas comma 64/63, the difference between two fourth of 4/3 and a harmonic seventh of 7/4 then tempered out and fourth fifths reduced an octave giving a pure 9/7. Quarter-comma meantone can be well approximated in 31edo (equal divisions of the octave), and quarter-comma superpyth in 22edo. Diatonic notes in Meantone are 5-limit (subgroup 2.3.5), where chromatic intervals may be septimal (7-limit), i.e. the augemented sixth is 7/4 and the diminished fourth is 9/7. Diatonic notes in superpyth are of the 2.3.7 subgroup, with major and minor thirds at 9/7 and 7/6 respectively. Chromatic intervals may be 5-limit, ie an augmented second of 5/4 and a diminished fourth of 6/5. Using a gamut of Ab-C# (traversed by fifths - the generator), the black notes host the octave species of the 5-limit enharmonic trichord, the 5-note scale: 1/1:5/4:4/3:3/2:15/8, our regular 5-limit M3, P4, P5 and M7. This study is a 5 chord riff that makes use of the 5-limit chromatic intervals of Superpyth[12] (12 notes of superpyth temperament generated by a continuous string of fifths), along with the diatonic intervals. The chords include the diatonic subminor seventh, subminor major seventh and included supermajor seventh, along with the chromatic major and minor seventh chords.

Superpyth[12] chromatic riff

Josephine Bode: vocals
Wen Chin Fu: cello
Rutger Muller: composition, synths/piano/electronics, graphics

Rutger Muller - Vectral Void (with Josephine Bode & Wen Chin Fu)

Mivos Quartet:
     Olivia De Prato, violin 1
     Lauren Cauley Kalal, violin 2
     Victor Lowrie Tafoya, viola
     Mariel Roberts, cello

Recorded and mixed by Jacob Sachs-Mishalanie

Performed on March 14, 2018 in Elebash Recital Hall, CUNY Graduate Center

String Quartet No. 2 models a process of actively listening to an imaginary sonic environment. Continuous fluctuations and transformations in sound features trace a landscape of aural engagement. Over time, the modeled listening constructs a sense of the environment’s variegated identity through an always-shifting consciousness of foreground and background.

String Quartet No. 2 [2017]

Drum-meastro Marco Baggiani improvised over bunch of my unfinished compositions. Subsequently, I re-arranged the jam session into new works.

Rutger Muller & Marcos Baggiani - Jazzcosm

🇰🇷 Rutger Muller - "Rituem" (HQ audio) Live at 니트 KNEET, Seoul, South Korea.

 ⚫ A new 25 min composition/improvisation with elements of dark ambient, new age, speedcore, noise, vaporwave, electro... I dunno ;)

Rutger Muller - Rituem (w.i.p.) [Live at 니트 Kneet, Seoul, South Korea]

Eftos Irrelevant

Carpe Nihil (super lofi)

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You & Me

this is a track i made for an online novel  in progress wrtitten by Mitch Cullin and Peter L. Chang . 

Everything Beautyfull Is Far Away 

This particular track is written for chapters 18 and 19
http://issuu.com/lo-vi/docs/december_2012_volume_8

you can find more sounds concerning the authors here:

https://soundcloud.com/lo-vi

artwork by Peter L. Chang

Everything beautiful is far away

The Sight Below performs material from Glider and No Place For Us on Seattle's famed KEXP station.

GhostlyCast #18 The Sight Below live on KEXP

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phonon - polyriddim

Clarinet, sax, and keyboard player; singer, composer, and theorist.

Superpyth[12] chromatic riff

Lillian Hearne

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