electro-classical

J.S. Bach's fugue in C Sharp Minor from the Well Tempered Clavier book 1 reimagined in vocals using just intonation. Also new is legato and breathing. The only tools I used were csound, and vim.

Bach C# Minor Fugue in Just Intonation

you are great !! 
please enjoy a new babiczstyle Liveset, 
all babicz inside like always.

yours 
robert

Robert Babicz - Happy Holiday MIX 21/22

Gewoel presents monthly exclusive podcasts by knowed and unknown Artists!

This month we start with a great Dj and producer @Steve Slight

His father and sister played several instruments and his mother had a Roland synthesizer. 
He was 7 years old when it all started for him.
He tried to play the Roland and experimented by manipulating sounds and tunes. 
Trial and error teached him how to make inspiring sounds.
Sounds for him are a very interesting things.
Sounds, not only of music, but also from daily life stuff: 
footsteps in a parking lot, wind blowing or even a ticking clock.
Later he discovered Techno and eventually started playing.
He was amazed by all the tracks that he could share with the crowd, sounds, effects, the vibe, the way people reacted to it, and most of all, what was happening inside of him.
He wanted to make this kind of music. 
He was mesmerized...
So he bought my first gear, it was a Roland MC909 and Logic audio.
He started to experiment a bit and 
learned the tricks and trade by himself and through a music forum were he  dropped my first try-outs with Ramon Tapia.
He was my very first guide.
He would invite me a few times in his studio at USA Import Antwerp and 
share with me a lot of inspiration and knowledge about music.
When it comes to music I get inspired by all kinds of events that occur in his life. 
He believes that his personal emotions are the basis for any musical creation.
He might be a dreamer, but when he feel joy or anger, or when other emotions run high, he feels creativity tickle and that are the best moments to make a powerful track.
And sometimes, like a writers' block, there comes nothing at all. 

And that is also good.

Gewoel Podcast 40 - Steve Slight

Buy/Stream - https://fanlink.to/BMR028

We bought in the A-Team of mighty bass producers to reconfigure Pelikann's 'Sinistar' EP and boy is it packed to the rafters with relentless floor waxers. Dutty Bass house, Neurobreaks, DnB & Hardtek? We got all bases covered for this one!

https://www.facebook.com/SovrynUK
https://www.instagram.com/sovrynuk/
https://soundcloud.com/sovrynuk

BUY / STREAM

Pelikann - Sinistar (Sovryn Remix)

Download & Stream: https://moonharbour.lnk.to/MHD207

Accomplished Italian pair Supernova steps up to Moon Harbour with a full flavour new house cut destined for big things this summer. 'Purple Jude' is another example of that. It's built on chunky, muscular drum funk with chord stabs adding extra energy and big vocals bursting out of the mix. Add in some steamy sax and a playful, summery breakdown and you have the sort of organic tune that is perfect for open-air dancing.

Download & Stream

Supernova - Purple Jude (Extended Mix)

I made so much new music; all the tracks were made by me like always.
hope you enjoy the deep intense journey into babiczstyle.
booking: manuela@ad-sound.com

2024 Spring BABICZmix

Welcome to Il Modo's Exclusive Series Mix for March 2024.  We are thrilled to bring you a guest mix from the one and only Robert Babicz.

Robert Babicz has been redefining the boundaries of electronic music since the early 1990s. His unique artistry encompasses sound, vision, emotion and spirituality. From releasing and performing acid techno as Rob Acid, to his role as a highly-sought after producer and studio wizard infusing technical perfection with deep emotion, to his striking photos, everything Robert does expresses his desire to celebrate beauty and humanity, and to live each moment with utmost consciousness. Robert's art and philosophy are so distinctive there's a word for it: Babiczstyle.

EVOLUTION
Robert made his first record on borrowed equipment in 1992 and played his first gig on gear he'd never used before. “I had no musical background or knowledge, no clue what I was doing. I just improvised. But for the first time in my life I was absolutely in the moment. And people responded – they loved and accepted me.”  Music was a way to rise above the struggles of daily life (in the early years of his career, he slept on a mattress on the floor of a tiny flat in his home town Cologne, his synths his only possessions) and to share the joy of that transcendence with others. Playing as Rob Acid, he ignited parties with fierce techno played by strict rules: every set was 100% live and unique, he deleted the instruments' programming immediately afterwards.

COMMUNICATION
The power of Robert's performances are fuelled by his lack of personal ego: “I'm not playing the instruments,” he says. “The people on the dancefloor are playing me”. He's never DJ'd (“I have so many ideas, I am always trying out my own music”), packs only “underwear and my instruments”
to go on tour, and has a single goal: to feel the crowd, make people forget their problems and experience pure joy on the dancefloor: “The perfect moment is when they stop caring about their job, and are in the here and now. You can see it on their faces. They let loose of everything and are completely in the present. This makes me happy.”

CRAFT
Robert continuously pushes the boundaries of electronic music as an artist, consultant, teacher, and engineer. Among Robert's more than 1000 releases are seven albums and a flood of tracks for labels including Bedrock, INTEC, Mille Plateaux, Systematic, Audiomatique, K2, Treibstoff, SUGA, Punkt and Praxxiz. In recent years, he has focused increasingly on his own imprint, Babiczstyle, which epitomises his sound, emotions and ethos.
Robert's exceptional sound-design, mastering and studio skills have prompted companies like Native Instruments and Apple to request his help on sound-design projects. He also teaches workshops on production and his music philosophy; and is one of the electronic music world's most in-demand mastering artists. Fellow artistes from across the dance music spectrum trust Robert to perfect the technical aspects of their records while rendering the emotions and intention even clearer.

AUTHENTICITY
Babiczstyle is authenticity in action. Wherever he travels the world, Robert is instantly recogniseable for his music, his warm smile, his energy, and his bright red scarf. “It's a bit like Superman's cape,” he jokes. The difference is, when Robert puts on the red scarf to perform he doesn't become someone else. Robert's superpower is the integrity of his art and vision: “I don't want to be dreamed by others,” he says. “I want to be myself.”

We hope you enjoy the mix! 

All tracks by Robert Babicz. 

Bookings: manuela@ad-sound.com

The Exclusive Series - Episode 37 - Robert Babicz

This track was written to demonstrate the harmonic possibilities of using higher harmonics freely whenever the composer wishes, without the bounds of a traditional scale, but within the bounds of major/minor/seventh harmony. It is also quite funky!

Harmonics of 11ths, 13th, 23rds etc are prominent in this composition, without being overwhelming in their unusualness. The highest prime harmonic used was the 127th harmonic in the final melody! E#''' was also used (125th harmonic)

It was written using a new notation system which has been devised to make accessing higher harmonics as intuitive as possible (it still takes a bit of getting one's head around!). Please contact me if you would like to see the score written in this notation system, or for details about how this notation system enables interesting harmonic composition outside of the bounds of the Western 12-note scale to be realised.

It qualifies for chiptune since although it is (much to my shame) 16-bit 44100Hz audio instead of the pure 8-bit, the sounds were synthesised from scratch using modified sin/saw waves, with a bit of band-limited noise thrown in for good measure. The synth took as input CSV 6xN matrices as sequence files, and processed in Octave/MATLAB to give MP3 output which you hear here.
---------
update 10th Apr 2015:

Here is a brief description of how the MP3 track was generated:

Just Intonation Notes (1/1 4/3 7/4 etc) <-> New Notation System (C F `Bb~7 etc) which is easier to read than pure numbers and where the letter corresponds (roughly) to the position in the 12ET scale
-> Excel block of chords and melody notes for visual presentation to composer (.txt)
-> Excel long (~1700 columns) of calculated note letters, frequencies, note lengths, etc
-> Excel final sequence file with 6 columns: channel, start time, frequency, note length, loudness, stereo position (.csv)
-> Octave/MATLAB code to take the 6 columns and turn them into chiptune (.mp3 or .wav)
-> Sometimes extra post processing in Audacity for final .wav

------------------------

See also:
- https://arxiv.org/a/ryan_d_1 (arXiv) for a list of my academic paper pre-prints, including my writing on music theory and Just Intonation
- http://orcid.org/0000-0002-4785-9766 (ORC ID) for my academic profile
- https://www.linkedin.com/in/davidryan59 for my LinkedIn profile

Sonata 1 'Cheery' - Chip Synth, Justly Intoned

Chanting

Chanting (Kaiserdisco Remix)

A sketch in Superpyth[12], 6 steps down, on D. Tuned in 27edo.

Casey Hale's Album

More than three over two

10-tet Cadence (Nonuniform String)

This track has been created using an L-system, which is a type of fractal where large parts are comprised of smaller parts that look like reduced copies of the large parts.

As an example, a melody going up by a Just-Intonation perfect fifth (3/2 frequency ratio) could be comprised of three smaller copies going up 3/2, down 3/2, then up 3/2. This simple example would not be musically very interesting, however the idea is there.

In this particular track, the following mappings were used:

1 beat 1/1 --> 1/2 beat 4/3, then 1/8 beat 1/1, then 1/8 beat 9/8, then 1/4 beat 3/2 (inverted)
1 beat 3/2 --> 5/4, then 6/5 (both 1/2 beat)
1 beat 4/3 --> 10/9, then 6/5 (reversed)
1 beat 5/4 --> 9/8, then 10/9 (reversed)
1 beat 6/5 --> 4/3, then 10/9 (inverted)
1 beat 9/8 --> 1/1, then 9/8
1 beat 10/9 --> 1/1, then 10/9

Reversed means the smaller copy is played back in i) the reverse order and ii) the smaller copies are themselves reversed
Inverted means that the frequency shifts are inverted, e.g. f --> 1/f. So 10/9 inverted means ‘go down by 10/9’ or ‘shift by 9/10’

So an L-system melody has a set of melodies (in this case one each for 1/1, 3/2, 4/3, 5/4, 6/5, 9/8, 10/9) and each has its own set of ‘daughter’ melodies.

Each daughter has:
- an associated frequency shift
- a timescale, here they are all 1/2, 1/4 or 1/8 beat
- optional inversion and reversing operations, giving 4 possible orientations in total.

Rules include
- product of daughter frequency shifts must equal parent frequency shift
- sum of daughter timescales must equal parent timescale of 1 beat
- continue iterating until maximum timescale of (iterated) daughters is 1/2^n.

In this particular track, the three parts were:
Bass: reference freq 100 Hz, max timescale 1/32
Alto: ref freq 200 Hz, max timescale 1/64
Treble ref freq 400 Hz, max timescale 1/128

This gave a 3 part invention! Due to the fractal melody/harmony, the different parts were consonant with each other.

One extra option is pre-tuning or post-tuning.
- Pre-tuning means ‘take the note frequency to be from the start of the fractal block’
- Post-tuning means ‘take the note frequency to be from the end of the block’

In this track, post-tuning was used, which means that at the end of blocks the tuning tends to be in 1:2:4 (octaves) ratio. Pre-tuning could just as easily be used, meaning that blocks start off on octaves and change to other chords during each block.

Enjoy! Dave

--------------

See also:
- https://arxiv.org/a/ryan_d_1 (arXiv) for a list of my academic paper pre-prints, including my writing on music theory and Just Intonation
- http://orcid.org/0000-0002-4785-9766 (ORC ID) for my academic profile
- https://www.linkedin.com/in/davidryan59 for my LinkedIn profile

Example Just Intonation Fractal 3-part Invention

Bach: Matthäus-Passion BWV 244- Kommt, ihr Töchter, helft mir klagen

One Man and his Droid (piece)

The enigma that is Township Rebellion will be heading down under for their debut Australian appearance. The German-born duo, who have been working collaboratively since 2013, has been flying under the radar for years now, but recently they have started to turn some heads with their carefully executed main room sound that has found favour with a global audience. 

Already this year they have worked their magic on punters at Fusion and Unterholz Music Festivals, and their latest EP, the deliciously titled ‘Balance', is a perfect example of the Township Rebellion sound: affecting progressive melodies and big deep basslines that is undeniable. As their career rapidly continues on an upward trajectory, now is the time to join the Rebellion.

Interview and tracklist not available...

Soundcloud: @township-rebellion
Facebook: www.facebook.com/township.rebellion.music

Balance Selections 079: Township Rebellion

- EXIT THE VOID - 
brokennote.bandcamp.com/album/exit-the-void

- Machine Dreams / Iron Sky - 
https://brokennote.bandcamp.com/album/machine-dreams-iron-sky

- Alternative Facts / Pressure Chamber - 
https://brokennote.bandcamp.com/album/alternative-facts-pressure-chamber

“BROKEN NOTE mark the cutting edge of bass music across a canvas of 15 tracks as they display an unerring commitment to the creation of boundary breaking sonic sequences. As a symbol of social cohesion in divided times manifested through the collaboration of independent labels and artists, EXIT THE VOID serves as a soundtrack for a disenfranchised generation.”

http://www.brokennote.com/exitthevoid/

A collaboration between creative forces - @BrokenNote, @methlab-recordings, @SlugWife
www.brokennote.com - www.slugwife.com - www.methlab-agency.com

eXIT tHE vOID

Exit The Void (Preview Mix)

hi i occasionally post bits of ""music"" here.
also anything labelled with another artist name is definitely by that artist, and not by me.

One Man and his Droid (piece)

moog64

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