The Blackest Shade

(Sharbaugh)
Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: synthesizers, 'found sounds,' and 'found sound' manipulation
David Seidel: [ n/a ]: sine wave generation and manipulation
Composed and Recorded ca. March 7 to 13, 2014.
sm5b [2023 REMASTER] [eM 01] [24WAV] [from iTunes].

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"(This finished piece is based upon an unfinished work that was intended to fulfill the requirements for the 114th March 7-10, 2014 Disquiet Junto project, 'disquiet0114-60Hz,' which -- to paraphrase for simplicity's sake -- was 'to compose a piece of music using only pre-recorded sine waves.' Below is my description of the process.)"

~ Michael

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"Prior to importing the sine wave chunks, I first fixed the tempo of my DAW to 60 BPM to reflect the frequency of the sine waves within. Therefore, with respect to the piece’s title, “Infrastructure” (named in deference to a phrase in Marc Weidenbaum’s liner notes in David Seidel’s release), I could introduce sonic elements at exact temporal multiples and divisions of the number, “60”—reflective of the frequency of those electrons flowing throughout my native United States [US].

Unsure as to whether I broke the rules or not, I layered the five chunks together, muted sections of chunks 1 and 5 in order to form a seamless bed at the instant of one minute, with beginning chunk 1 left raw and ending chunk 5 fed through a distortion and reverb.

I then chopped sections from each of the others. Those sections I had chopped up were multiplied and pitch-shifted several times to form a Bb-minor chord, a Db-diminished chord, and an F-major chord. Each ‘chord’, strained as it sounded, was fed into the same distortion bus as chunk 5, which sometimes overpowered the smaller chorded chunks due to its immense low frequency power; thus, some were barely audible.

After hours and days thinking of how to make this piece musical, I realized that all waveforms are made up of sine waves. Seeking a piano waveform and a vocal waveform, I experimented. I time-compressed several sections of the chunks and layered them, which resulted in several usable sounds distinguishable from the longer, droning chunk beds—a percussive, which I elongated by 11 measures, a ‘bleep’|‘blip’|‘bloop’, which I elongated by 4 measures, and a wind sound, which I elongated to 11 measures and then shortened yet again to 4 measures. I used these sounds to punctuate the chordal changes—the Bb-minor, the Db-diminished, and the F-major chords.

Even the reverb settings were dialed in to represent the infrastructure of the US, what with rectangular room spaces (skyscrapers) and reflective surfaces representative of concrete.

After the Disquiet Junto deadline had passed, I took up the project again added a multitude of synth lines, Rhodes-ey piano licks, and muted percussion tracks. I topped the piece off with subtle throat-singing samples from FreeSound.org:

storm#16.wav: http://www.freesound.org/people/djgriffin/sounds/22023/
tibetan chant 3.wav: http://www.freesound.org/people/djgriffin/sounds/15363/ "

~ Michael

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"More on this 114th Disquiet Junto project — “Combine elements of Dave Seidel’s album ~60 Hz (Irritable Hedgehog)” — at:

http://disquiet.com/2014/03/06/disquiet0114-60hz/

More on the Disquiet Junto at:

http://disquiet.com/?p=16588

Join the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

The source audio is from Dave Seidel’s ~60 Hz album, released on the Irritable Hedgehog record label. More on the album at:

http://recordings.irritablehedgehog.com/album/dave-seidel-60-hz "

~ Marc Weidenbaum

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Infrastructure

"Infrastructure" [2014] [2023 REMASTER] [based on (disquiet0114-60Hz)] ~ Michael Ash Sharbaugh

HUBBLE´S VIEW // Tonal Impressions From The Telescope
@docfritz —> Soundscapes, Rhythmic-Design, Drums, Mix & Production
@joerxworx —> Exraterristic Synth Interludes with EWI
© 2023 // Composed; Arranged by DOCFRITZ @ OESJ // All Rights Reserved

HUBBLE`S VIEW

HUBBLE´S VIEW ft. joerxworx

I OSAI MAS

MMMMM...O
there hung an Iroquois sign
by the neon tubes above the Hang Moon Bar
music on the warm night air...bare thighs stickin to the hood of my beat up car
keepin to ice water...pullin tangles from my hair...catchin up on Old Town gossip
same old stuff, I swear
yea...and this hood still holds the heat
of too much highway...
the fever of the lines has lost its grip, and
sittin here - by the swingin pine
of the Iroquois sign
misfirin' neon gas
murmurin out the evenin
...at the Hang Moon Bar
and here I go...on
thighs stickin to the hood of my ole beat up car
yea...get on for a cruise
up to the drive in lot
tumbleweeds in congress with the old spent shells of my buckshot
roll me out tobacco for the ones who wander on
ghosts on the highway...
past the bar...with the Iroquois sign

The Iroquois Sign

Turkey Dance

Magicians Theme Remaster

BaptistYouth Paster On The Prowl (808 Beats)

stretched into infinity, until it’s only texture
2025-04-15

paul stretch my hands

The Discovered

Join the crew of the Nostromo 2 deep space explorer on it's mission throughout the galaxy and beyond. Exploratory and atmospheric deep space ambient music. soundscapes and drones by Nairb One.

Recorded August 2025
© 2025 Aeon Records
℗ 2025 Ditto Music LTD

Website

Probe

POP | SPACEROCK | VAPORTRAP | TRIP-HOP
AMBIENT | EXPERIMENTAL

the PERSON, the SOUND : Since 1985, Philadelphia-born Michael has composed and released hundreds of audio recordings, and published dozens of [erotic] poems.

His 'sonic-sojourn' began suddenly when he was just a teen -- feet splashing rhythmically through puddles leftover by a seaside rainstorm. Having just parted ways with the then-love-of-his-life, Michael composed his first ballad [and first song] ever -- "Tina." He rushed to his beach-side home to record his visceral 'awakening' on a tiny micro-cassette recorder, and vowed -- from that day on -- to create art for the rest of his life.

He began zealously amassing used music equipment, and had built a modest home recording studio by age seventeen, all the while crafting simple pop, ambient, and experimental works that HE had wanted to listen to -- that HE had wanted to hear, affectionately emulating the works of his then-idols, Duran Duran and Brian Eno.

Now, decades later, he has relocated to a small village outside Atlanta, Georgia, and continues to voraciously attend to his dream as a young, heartbroken boy -- to create and release music that he, himself, wants to hear.

Although no longer sequestered to pop and ambient musics, Michael's signature sound has merged the two, having integrated the R&B, hiphop, and psychedelia he has grown to love as a older gent -- having absorbed the edgy rhythms and dreamy soul of the southern United States (Atlanta and Miami).

Michael still puts forth ample amounts af ambient musics, but his recent 'sound' hovers elsewhere -- somewhere amidst the genres of vaportrap, spacerock, and trip-hop.

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the INFLUENCES : Duran Duran, The Weeknd, Blondie, Depeche Mode, Billy Idol + Steve Stevens, Stone Temple Pilots, Dead Can Dance, Siouxsie & The Banshees, This Mortal Coil, Air, Naked Eyes, Tears for Fears, Alice in Chains, John Barry, Leslie Bricusse, The Chameleons [UK], Brian Eno, The Cocteau Twins, ABBA, The Bee Gees, Claude Debussy, Frederick Chopin, Guillaume de Machaut, Early Music, Renaissance music, Baroque music, and Joe Meek.

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#duranduran #theweeknd #blondie #depechemode #billyidol #stevestevens #deadcandance #siouxsieandthebanshees #air #tearsforfears #johnbarry #lesliebricusse #claudedebussy #mauriceravel #frederickchopin #eriksatie #brianeno #thecocteautwins #abba #beegees #joemeek #chameleons #octoberproject #patbenatar #haroldbudd #lindseybuckingham #nakedeyes #aha #ceefarrow #omd #thismortalcoil #stonetemplepilots #aliceinchains #baroque #renaissance #earlymusic #theweeknd #skeler