Shounthar - Ambient Music Soundscape

An immersive ambient soundscape blending deep ambient, relaxing music, and subtle drone sounds with soft pads and organic field recordings. Designed for meditation music, study music, yoga music, and sleep music, this track delivers calm vibes and a peaceful atmosphere for stress relief, mindfulness, and late-night listening.

Earth - Atmospheric Ambient Soundscape - Track 05

Growth

POETRY BY NOACH ENGELHARD

out via Failed unit

https://failedunits.bandcamp.com/album/rescue-research-pt-2-yogev-freilichman

סנוורים(SUNVERIM)-out via Failed Units

https://wouwiuwa.bandcamp.com/album/yeknesak-3

zero energy

Plastic

synesthesia

INDEFINITE PITCH   |   PREMIERE 056

Mickaël Halley - AC333T
Reworks [US014 | UNSE Records]

Composed and mastered by Mickaël Halley
Photography by Mickaël Halley (Analog film / Lisbon, Summer 2020)

Released by UNSE Records from Paris, France
Release Date: November 11 2020

Reworks is a compilation of 4 tracks that are reshaped and compiled on a very Limited Edition vinyl and digital as well. From ambient to downtempo acid-like tracks, each song is made on a hardware set-up only.

"You're Searching For Nothing" & "Music For An Empty Train" were initially edited on my first EP on I Low You Records in April 2020. "Lost Track" is an old recording that was produced in 2018 and edited in September 2020. It was initially recorded for my ambient EP "Panorama" which was edited on Unse Records. "AC333T" is an improvisation on a 4-track tape recorder. It's the only track on this EP with a drum and acid bass-line.

Each track is produced with various modular synthesizers such as Korg MS-20, Behringer Crave, Behringer TD3, Yamaha DX100 and Yamaha MT1X in combination with several effect pedals.

Mickaël Halley
@mickaelhalley
http://mickaelhalley.fr
https://www.facebook.com/mickael.halley1
https://www.instagram.com/mickaelhalley

UNSE Records
@unserecords
https://www.facebook.com/unserecords
https://unse.bandcamp.com

Indefinite Pitch | Yantai
@indefinite-pitch
https://bandcamp.com/indefinite_pitch
https://www.facebook.com/indefinitepitch.hub
https://www.instagram.com/indefinite_pitch.hub
https://twitter.com/IndefinitePitch
https://www.discogs.com/user/Indefinite.Pitch

AC333T

Buy & Support

PREMIERE: Mickaël Halley - AC333T [UNSE Records]

O.V.
https://soundcloud.com/senmove/notime-funktion
https://soundcloud.com/senmove

Senmove - Notime Funktion (Senglar Rmx)

UVL is proud to release two new side-long compositions from Max Eilbacher. Edition of 150 three color risograph print.

Digital Sketch For Strings
One morning I had an idea for a string composition. The tonal colors of the strings would be constantly morphing between shifting intonations. A rising and falling spectrum of many different sonorities would construct a throbbing, living whole. The gestural and perceptive qualities of the stringed accumulation would exist somewhere between glacial and in constant motion. I ended up using saw waves instead of string samples or acoustic instruments, as I found the harmonics of a saw wave helped achieve what I was hearing in my head that morning.

Spectral Masking Room Construction
A work exploring onset partials on audio perception and spectral masking. I started with a woodblock sample. For me, the woodblock's harsh yet beautiful striking sound is complex. The short burst acts as an extremely salient and trepidatious sonic cue. After listening for hours to a single strike and performing in-depth spectral analysis, I began to hear and comprehend the strike’s intricate material composite as extending beyond its short temporal life. The burst started to exist as an impulse response. With each strike, information about the space in which the woodblock’s material existed for the recording was communicated. The room in which the wood was struck was just as much a part of the sonic material being heard as the wooden material colliding with one another. Synthesizing the woodblock sound from scratch turned into a minute study of individual partial’s attack and decay times. I used the results of spectral analysis and composed around the initial short strike. The pitches comprising the fundamentals and overtones in the sample were extracted in various clusters and used to create a few different digital synths. The timing structure of the sampled and synthesized strikes are controlled by a simple counting transform. By doing so I set conceptual throughlines for the variants of struck sounds. The many variations of partials being highlighted or sent to the audio background serve to imitate “fake” spaces in which these sounds exist and convey subtle architectural information to the listener.

- Max Elibacher, 2020

Max Eilbacher (excerpt)

ᖶᕼᘿ ᘺᗩᖶᘿᖇ ᑢᖻᑢᒪᘿ - ᕲᘿSᑢᖇᓰᗷᘿS ᖶᕼᘿ ᒪᓰᖴᘿ ᑢᖻᑢᒪᘿ ᓍᖴ ᗩ Sᖻᘉᖶᕼᘿᖶᓰᑢ ᒪᓰᕴᑘᓰᕲ. ᗩ Sᘻᗩᒪᒪ ᗩᘉᕲ ᑢᕼᘿᘿᖇᖴᑘᒪ ᕲᖇᓍᕵᒪᘿᖶ ᘺᗩᒪᖽᐸS ᑢᗩᖇᘿᖴᖇᘿᘿ ᓍᘉ ᘿᘉᕲᒪᘿSS ᗷᓍᕲᓰᘿS ᓍᖴ ᘺᗩᖶᘿᖇ. ᖶᕼᘿᘉ ᖶᕼᘿ ᖶᘿᘻᕵᘿᖇᗩᖶᑘᖇᘿ ᖇᓰSᘿS ᗩᘉᕲ Sᕼᘿ ᘿ᙭ᕵᘿᖇᓰᘿᘉᑢᘿS ᘿᐺᗩᕵᓍᖇᗩᖶᓰᓍᘉ. ᕲᓍ ᖻᓍᑘ ᖽᐸᘉᓍᘺ ᘺᕼᗩᖶ ᓰᖶ'S ᒪᓰᖽᐸᘿ ᖶᓍ ᗷᘿ ᘿᐺᗩᕵᓍᖇᗩᖶᓰᘉᘜ ᘺᗩᖶᘿᖇ ᘺᕼᘿᘉ ᖻᓍᑘᖇ ᗷᓍᕲᖻ ᑢᕼᗩᘉᘜᘿS Sᕼᗩᕵᘿ ᖴᖇᓍᘻ ᒪᓰᕴᑘᓰᕲ ᖶᓍ ᘜᗩSᘿᓍᑘS? ᓰ ᕲᓍᘉ'ᖶ ᖶᕼᓰᘉᖽᐸ Sᓍ.

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🎵 - @metra_vestlud
🔗 - https://syntheticliquid.bandcamp.com/album/the-water-cycle

The Water Cycle

{SLIQ01} 𝘮𝘦𝘵𝘳𝘢.𝘷𝘦𝘴𝘵𝘭𝘶𝘥 - ᖶᕼᘿ ᘺᗩᖶᘿᖇ ᑢᖻᑢᒪᘿ

O.V.
https://soundcloud.com/joao_ms

Self-Portrait by M.

João MS - SD02 (Senglar Version)

// broken electronics for broken people //
co-founder https://soundcloud.com/tablerecords - 2018

for contact/booking: info@tablerecords.com

synesthesia

Liminal Objects