Raw sonic explorations of the tools I am designing at GRM. No external input, live capture with minor editing.

Today, a vague and uninformed tribute to Maryanne Amacher.

GRM Development Diary 1

Raw sonic explorations of the tools I am designing at GRM. No external input, no post-processing, live capture with minor editing.
Today, a study from synthetic strings to chaos, listening to John Luther Adams. All artifacts intentional ⚡️

GRM Development Diary 2

In the GRM Development Diary series this week, ∿∿∿ lullaby for sine waves ∿∿∿. Raw sonic explorations of the tools I am designing at INA grm. No external input, no post-processing, live capture with minor editing.

GRM Development Diary 3

Raw sonic explorations of the tools I am designing at INA grm. No external input, no post-processing, live capture with minor editing. 

This week, when time becomes malleable matter.

GRM Development Diary 4

Raw sonic explorations of the tools I am designing at INA grm. No external input, no post-processing, live capture with minor editing.

Today, a(nother) lullaby for sines.

GRM Development Diary 6

Raw sonic explorations of the tools I am designing at GRM. No external input, live capture with minor editing.

Today, growlings and seepings, a study on guttural sounds.

GRM Development Diary 7

Raw sonic explorations of the tools I am designing at GRM. No external input, live capture with minor editing.

To begin 2023 rather mysteriously, two generative patches overlaid on top of each other, objectively random but subjectively giving the illusion of a dialogue.

GRM Development Diary 8

Raw sonic explorations of the tools I am designing at GRM. No external input, live capture with minor editing.

Showcasing a novel modulation system of my invention, recently implemented, that opens up possibilities going far beyond traditional CVs, LFOs and envelopes; in fact, I don't know anything quite like it 😳 The future of GRM Tools, however remote, will be interesting 🚀

GRM Development Diary 9

Raw sonic explorations of the tools I am designing at GRM. No external input, live capture with minor editing.

A study of purely generative, Basic Channel-like dub techno. Departing from the initial constraint, this one with out-of-the-box 808 overlaid, and substantial mastering applied.

GRM Development Diary 10

Published by Marius Babias, Neuer Berliner Kunstverein
Curated by Sergio Edelsztein
Accompanying essay by Vanina Saracino

Composed, recorded and mixed by Enrique Ramírez & Matthias Puech

Mixed at INA GRM
Mastered by Lawrence English at Negative Space

Special thanks to:
Elisa Ganivet, Elise Al Kayar, Anna Capatinta, Basile Puech-Al Kayar, Lou Ramírez, Ada Puech-Al Kayar, Loïc Chambon, Bertrand Rigaux, Pascale Pronnier.

Louvre Lens – Hélène Bouillon, Muriel Defives, Robin Delattre, Marie Lavandier, Sophie Martin, Grégory Mortelette, Léa Pelabon, Véronique Petitjean, Evelyne Reboul, Flavien Tanchon, Annabelle Ténèze, Charles Valentin.

Pinault Collection

Design by Koby Barhad

Supported by Nathalie and Jean-Daniel Cohen

Distributed by Verlag der Buchhandlung Walther und Franz König

Venezia vuota

Descubrimiento del Hombre Pez

Le Crépuscule des Forficules

Daedalus' Nightmare

Départ de la Calypso

Entre Santiago y Lens

Prisma Pavillion

Mid-City

Le Bourdon (listening To La Monte Young)

Included in The Wire Tapper 44, the CD compilation included with the August 2017 edition of The Wire.

Badalisc (from The Wire Tapper 44)

Musician, programmer, researcher, teacher. GRM Member.

Out now: "Mt. Hadamard National Park", Hallow Ground (LP, Digital).
https://hallowground.bandcamp.com/album/matthias-puech-mt-hadamard-national-park

Matthias Puech

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