ambient

Remix by: MimiCof/Midori Hirano
midorihirano.com/
facebook.com/MidoriMimiCof

Original:
soundcloud.com/bad-panda-records/uma-vanity/s-xhmoC
UMA:
uma-music.net
facebook.com/00UMA

http://youtu.be/K6rx2QL5IDY
Video by Ella Z.
We did not take any of these selfies to make fun of anyone!
This video is an attempt to display a cultural phenomenon that lead to a word of the year nomination by oxford dictionaries for the word #selfie.
If you find your selfie inside this video and you don't like what you see, let us know for immediate removal!

Thanks for submitting selfies to: Chloe, Steffi, Wolfgang, Michael + Gaia, Thomas + Claudia, Wolfgang, Adrian, Stefan, Phoebe, Manu and Ina.
Thanks to MimiCof/Midori Hirano for her excellent Remix!

UMA-Vanity (MimiCof Remix)

thought i would noodle around on some keys tonight. sound i made a while ago on the access virus ti. a synth i use all the time. very versatile and great for ambient.

Feb 01, 2014

today's sound is a very simple and quite calm… loop made with a nord lead and a bell which i scraped and tapped on.

nothing fancy, no crazy patching. just a nord, and a bell.

Feb 03, 2014 (loop with bell and nord)

i've been going over some unreleased material today. unfinished, discarded and stumbled across this track started on february 14th, two years ago and never finished. i've forgotten where i wanted to take it, where it was supposed to go but that's why i like it so much. finally removed from the pressure of finishing it i'm hearing it in a totally new light and i really like it, unfinished or not.

i don't quite remember how it went together. the only clues are the names of some of the tracks in digital performer… "blofeld working" (that keyed sound that comes in around 3:00) "june13uke", "dx7 low"…

i made some tweaks to the mix today, very minor, not intended to finish it (yet) but just get it presentable.. and then recorded it so i could upload it.

maybe it will be something.

Lost & Compiled

Sketch For February

Feb 04, 2014 (Feb 14, 2012)

this is a loop i made with the nord lead as a layer that comes in quietly at the end of a track on the upcoming album i'm completing with stephen vitiello.

we've been finishing off this mix this week and i'm about to send stephen what i hope is the final version that can then go to mastering.

obviously not too much on its own, but the sound lends a nice tone buried beneath some piano at the end of this track.

it was created with a nord lead 1 and eventide time factor delay pedal.

Feb 05, 2014 (nord for vitiello)

tonight's sound is definitely a quick experiment…

the qu-bit nebulae eurorack module, which is a granular sample player, is able to load c-sound patches which can transform it into something entirely different. well, the first such patch was uploaded over at the muffwiggler forum by sebiiksbcs who turned it into an fm synthesizer. very cool!

i thought i'd quickly mess around with it to see what kind of tones it was capable of making.. and it's really quite nice and glassy.

excuse the quick pitch sequencing (coming from a moskwa sequencer) but.. this is like 2 minutes of first exploring it.

the quick skittery type sounds are from a fast LFO modulating the FM index… some potential there.

(oh, and it's running through an echophon… which is where the echo is coming from)

very curious to see what else this chameleon of a module can be transformed into. 

great work, sebiiksbcs!!


Feb 08, 2014 (nebulae as fm synthesizer)

not a new sound tonight… but as i've been going through old, unreleased recordings for this japanese tour cd i'm putting together i found this bit, actually from 2005 (wow… 9 years ago!?!?!) that was intended as a track for my album "northern"… this is an excerpt of it.

i don't remember what went into it, but at the time it probably sounded too unfinished to be considered for "northern," but i think it's pretty interesting.

i have no idea what i used to make it… probably mostly processing with kyma, but i'm not sure the sound sources.

i don't think it'll make it on the tour cd, either… but i haven't totally decided yet.

Feb 09, 2014 (northern outtake)

i've been trying to collect samples and fragments from mine and ryuichi sakamoto's album "disappearance" to load into the modular for our gigs coming up in the next couple of weeks. making sure they're cropped, formatted properly, in pitch, etc…

here's a montage of 3 of them played out of two addac wav players and a qu-bit
nebulae… going into a phonogene for resampling and followed by an MMG filter.

simple, but nice.. just seeing how the samples work together and a bit of how i'll handle the samples during the gigs.

Feb 10, 2014 (disappearance/3)

i've been scrambling to finish work in preparation for my trip to iceland tomorrow with marcus fischer. marcus and i are going to do some photography and music and i have a concert at sonar with the dear ryuichi sakamoto.

my instruments will include half of my modular synth and the op1, so i've got to practice, get some ideas down, make some notes.

i've got time today, amazingly, to relax and play and i came up with this.

op1: small sine wave bells bouncing around
e350 oscillator: main, slow melody
addac 101: a gritty field recording of some sort
nebulae: another slow melody in freeze mode
turing machine -> uScale: providing quantized 1v/oct for e350 and nebulae
zone bf LFO: providing slow (and sometimes fast) amplitude modulation for 350 and nebulae
phonogene: as always, capturing a loop
eventide h7600: reverb and space

Feb 11, 2014 (modular, op1, for reykjavik)

Purchase "Spectre" on iTunes: https://itunes.apple.com/us/album/spectre-single/id825607441

Tycho "Awake" LP on Ghostly International
Release date: MARCH 18, 2014

Purchase "Awake": shop.iso50.com/collections/awake

formats:
CD/LP/DIGITAL

Design and layout by Scott Hansen
Photography by Reuben Wu

For nearly a decade, Tycho has been known as the musical alias of Scott Hansen, but with the release of Awake – his second LP for Ghostly International – the solo project has evolved into a three-piece band. Relating closer to post-rock than ambient soundscapes, the record is situated in the present, sounding more like Hansen than drawing from his influences. “This is, in many ways, the first true Tycho record.”

Following 2011’s Dive LP, the San Francisco-based designer toured extensively, and with a full band on stage, his sound coalesced into a percussive, organic whole. Zac Brown (guitars, bass) rejoined Scott on the road for this tour, but it was the particular addition of Rory O’Connor’s live drumming that ultimately sent Hansen back to the studio with a more precise vision. “After the tour, I decided that I wanted to capture the more energetic, driven sound of the live show on the next album,” Hansen recalls. Bringing musicians into Tycho’s creative process was a step towards expanding his own songwriting and advancing the project beyond its current sound.

In a cabin near Tahoe last winter, Zac and Scott began fleshing out the structure of the new record, but it wasn’t until they set up shop in the hills of Santa Cruz with Rory that it all fell into place. “It crystallized the vision of how the drums would come to the forefront on this record,” says Hansen. The sound was much more stripped-down and concise with more organic instruments in the fold. Songs like “Montana” and “Awake” are a departure from Tycho’s previous material – unique to the group effort poured into the songs on the new record – while “See” and “Dye” echo ideas from previous works, bridging a middle ground between the old and new. Working with Count Eldridge, who also engineered Dive, the team could fixate on the pulses that Tycho might previously layer under synthesizers and exhume them with distinct bass and guitar patterns.

Also known for his design work as ISO50, Hansen’s visual and sonic efforts have dovetailed throughout the course of his career. “This is the first time in my life I've dropped everything to focus on one artistic pursuit,” notes Hansen. Previous Tycho releases came to fruition when an amalgam of songs were nearing completion, but Awake is where music becomes the focus and true expression becomes the result.

WEB - http://www.tychomusic.com 
TWITTER - http://www.twitter.com/iso50 
FB - http://www.facebook.com/tychomusic 
YOUTUBE: https://www.youtube.com/user/iso50 
INSTAGRAM - @iso50 


Spectre

i welcome myself back… after a bit of a hiatus from being out of the country for two gigs with ryuichi sakamoto. the first in reykjavik and the second in london. had me out for two weeks. while i did make some sounds with marcus fischer in reykjavik, which i might post here in the coming days, i was pretty busy and didn't bother doing any work on my own.

the day we left for iceland a customized serge resonant eq eurorack module showed up at my door. this one was modified with individual outs for every band. i didn't really get to try it out until today and this sound is the first thing i've done with it.

not sure it's terribly indicative of the serge resonant eq sound… but it was fun nonetheless.

what i've got here is quite simple.. .a sample from the au-bit nebulae (i think of a nord lead 1) going through the serge eq. one individual band out is going into an intellijel korgasmatron high pass filter and another is going through a make noise echophon and a 3rd is going straight out to a vca. the whole thing is mixed through a wmd geiger counter for a bit of crunch and to top it off one of the upper outputs of the serge is feeding back into the second input.. a lot of the faint high pitched sounds are controlled feedbacks from that. and, actually, the low crunchy boom is also a result of the feedback, before it's hitting the geiger counter.



Feb 24, 2014 (serge resonant eq)

today's sound is made equally from a nord wave and an eventide h7600. the wave plays a sound i made that combines a field recording in a forest with an fm oscillator. it's great on its own, but when paired with this h7600 effect it really sends it somewhere else.

the eventide is a combination of 4 channels of diffusion, delay and comb filtering and just verbs and spaces out whatever goes into it.

this combination could definitely lead to the start of a track i think.

Feb 25, 2014 (nord wave, eventide h7600)

as the snow, so light in the nearly breezeless day, hovered like may flies at dusk outside the window, this loop stuck, frozen, hovering with it.

Feb 26, 2014 (frozen loop)

i like this sound… a couple of loops from the nord lead recorded into the modcan cv record while the intellijel planar crossfades between then via an LFO. there's a short stuck loop from the phonogene and everything just sort of swims along. intellijel korgasmatron filter plays a big roll as does the serge resonant EQ.

Feb 27, 2014 (a series of sleepy loops)

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Opus

Apollo Peak

Akari is the third album from Tokyo duo Illuha. Following 2011’s debut Shizuku (12k1067) and 2013’s Interstices (12k2028), Akari takes the next artistic step for the band. While Shizuku was recorded in the US and completed separately by the artists, Interstices captured the duo creating their exceptionally detailed music together live during a Japaneses tour. Akari, in turn, is the first studio album where Illuha recorded and mixed together, throughout the entire process. The beautiful st-robo studio in Tokyo put a collection of amazing equipment at their fingertips, from vintage mics and outboard gear to a vast collection of instruments, both acoustic and electronic. Their writing sessions were numerous and long with details meticulously obsessed over for nearly a year. The result is the most bewildering music Illuha have created to date. An album swimming with the most delicately tactile sounds and instrumentation that draws the listener in with hushed, motionless attention.

While Illuha’s Corey Fuller and Tomoyoshi Date are often drawn to the most sparse notes of Rhodes and Wurlitzer electric pianos, acoustic grand piano and guitar, the breadth of instrumentation is partially what makes Akari so abosrbing. They have succeeded in creating their own universe of sound, so beautifully recorded, where each element not only has its own space but connects and interacts so fluidly with the other sounds. It is as if they are placed perfectly by nature, the compositions are fluid and organic, a far cry from anything calculated or structured. It is this open space that the music exists in which in turn defines the music itself. There is ample room to breathe within this forest of gentle tines, bubbling analogue synthesizers, clicking percussion and quiet field recordings. This is subtlety at its most refined; hushed without being saccharine, distant without being morose.

Akari is the Japanese word for light. Conceputally the duo used this word as a guide, as if they were searching through the dark, trying to keep the light alive, as if one is cradling a candle doing everything in their power to keep it alight in a storm. It is this almost visceral sense of sheltering, of protection, that gives Akari a very human and personal sound whose intensely deep focus is as impressive as it is arresting.

Akari

Structures Based on the Plasticity of Sphere Surface Tension

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Structures Based On The Plasticity Of Sphere Surface Tension

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MimiCof - ReckTon

"A Song for Libby" by Good Weather for an Airstrike (https://soundcloud.com/gwfaa).  Track is taken from album "A Home for You" released 10th March 2014.

Find more Good Weather for an Airstrike at:
http://goodweatherforanairstrike.bandcamp.com/
https://www.facebook.com/pages/Good-Weather-For-An-Airstrike/116708454007
https://twitter.com/gwfaa

Good Weather for an Airstrike - A Song For Libby

ebows… taps… loops into loopers. performed, pitch shifted and looped again.

Mar 03, 2014 (kaleidoloops and loops)

sample processing in eurorack…. going through an eventide h3000 delay program. there's something classically ambient about this…. dated… 90's…  i think it's the moving filter (pittsburgh filter) mixed with the obvious echo….but it's still kind of nice.

ambient

Nima