The Overtone Ensemble perform and record using microtonally tuned metal rod instruments designed and built by Tim Catlin. Dubbed the “Vibrissa”, after feline tactile hair follicles (whiskers), these instruments are longitudinally stroked by hand and produce an ethereal, haunting sound. The long sustaining nature of the rods sound and close interval tunings allow players a sonic palette of shimmering textures and harmonic complexity.  Microtonal rod tunings allow the group to explore and manipulate acoustic phenomena such as phasing, difference and beat tones, sympathetic vibrations and room resonance. The overall effect is of a shimmering sound field full of internal movement, strange harmonies and complex overtone patterns.
(Although the instruments sound electronic, all sounds are acoustically generated, without effects or processing.) These rod sounds are complemented with bowed metal, acoustic guitars, wineglasses, handbells, long wire instruments and re-tuned glockenspiels.

Tim Catlin formed The Overtone Ensemble in 2012. Since then the group (Tim Catlin, Dave Brown, Atticus Bastow and Philip Brophy) have performed at festivals such as Slow Music, NOW now, Sound Out, Light in Winter and Liquid Architecture as well as various galleries and clubs.


One of the most influential ensembles for contemporary, early and metamodern music, based in Dresden (Germany). Artistic Director: Olaf Katzer

miCROfest is an international festival of microtonal music in Croatia. 
The festival aims to create an opportunity for the public to encounter microtonal music, microtonal instruments and theories of microtonal music.

Ambient microtonal improvisations exploring the tonal landscapes of the FreeNote Music 12-Tone Ultra Plus Guitar. 
Learn more at FreeNoteMusic.com

Recognized as one of the world’s foremost authorities on the ancient, orally transmitted vocal traditions of Serbia and the Balkans, Svetlana Spajić has made her special expertise the study of microtonal a cappella singing and its unique vocal techniques and ornamentation. Her research in the subject has led her to travel the Balkans, studying firsthand with the best village singers of oldest generation. She has embodied her 25 years of knowledge and experience into the working process of Svetlana Spajic Group, a Belgrade based female ensemble which actively includes the village singers who often publicly perform with the group. She holds lectures and workshops on Serbian traditional singing and culture in the country and abroad and regularly co-operates with art and music academies worldwide. Svetlana Spajić has collaborated with world’s best traditional singers including Hronis Aidonidis, Domna Samiou, Yanka Rupkina, Stella Chiweshe. Other notable artists with whom she has performed are in the field of contemporary and avant-garde music and art such as Marina Abramovic, Robert Wilson, Zeitkratzer, Sainkho Namtchylak, Antony, William Basinski, Urs Leimgruber, Boris Kovač.
The broad and challenging repertoire of Svetlana Spajic Group consists of the oldest Serbian traditional forms such as potresalica (“shaking song”) from western Bosnia, multi-part singing from Slavonia and Banija, kantalica from the Drina river area, two-part singing in intensive intervals of a second from central Bosnia, western and central Serbia, ballads “na bas” from Eastern Serbia etc. The group performed at Concertgebouw Amsterdam, Wiener Konzerthaus, Taipei National Concert Hall, WOMEX, festivals of traditional polyphony, folk and new music all across Europe and in USA. The performances and albums have met with high critical acclaim in the country and abroad. Since 2011 they have been part of the theatre play “The Life and Death of Marina Abramović” by visionary American director Robert Wilson. 
Svetlana Spajic Group is a powerful re-discovery of forgotten vocal idioms, Dinaric second interval strikes and unexpected harmonies. What brought them the reputation of traditional avant-garde is their faithfulness to the old principles of traditional singing through uncompromising risky performances of great emotional and physical impact. An ultimate control and spontaneity in one.

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"Xenharmonix" uses a wide range of tuning systems based on various mathematical concepts, in order to give one access to sets of frequencies not easily available on "normal" fretted or keyed instruments. I experiment with various types of Just Intonation, Pythagorean, Gamelan, 31-Tone Equal, 19-Tone Equal, Meantone Systems, Hindustani, Arabic, Subharmonic, Enharmonic, etc. Each has it's own flavor and characteristics that make it unique. All of the music here is improvised and recorded in one take. No mixing, mastering, or editing. Everything is recorded using Omnisphere in 432hz and utilizes some type of Xenharmonic or Microtonal system as well. Enjoy!

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