mysterious. Nice.🔊🎶🎶🎶😎👍

@enzo1461: Thank you! It was recorded live in one take, too!

The track could sound like natural sounds! So interesting!

Usually, I'm not someone calm ... but, I must say, this sound makes me feel good.

Mysterioso Does Ambient and Experimental

The third movement of the Sonata for Bassoon and Piano (2018).

Pawel Strzelecki: 3. Finale [Bassoon Sonata (2018)].

Recorded in February 2024 as part of the RPM Challenge.

Experiments with a recursive composition idea: each sound
event triggers more sound events.  Made with Csound.

B LLOON S

Recurse 1

Recorded in February 2024 as part of the RPM Challenge.

Experiments with a recursive composition idea: each sound
event triggers more sound events.  

Made with Csound.

Recurse 2

Recorded in February 2024 as part of the RPM Challenge.

This uses the same technique as track 1 (Pianno).
The source sound is harmonics played on my acoustic guitar
tuned to E flat/A/E flat/G/B/E flat.

Guittar

Recurse 4

Recorded in February 2024 as part of the RPM Challenge.

This started with a bit of code I wrote to generate quasi-chaotic
sounds, very noisy.  I then mixed the results "by hand", 
changing speed of playback, and doing other pretty standard
things to try to give the track as much variety as possible
(for a noise track).

Desperate

Recorded in February 2024 as part of the RPM Challenge.

Source sound was recorded inside a spinet piano I had access
to briefly in Gig Harbor, Washington.  

I cut the recording into chunks, then assigned two 
measures to each chunk (proxies for "pitch" and "loudness"),
thus mapping each chunk to a point in 2D space.
I then created a path connecting all of these points using
a greedy, nearest neighbor method.
The path then determined the sequence of the chunks in 
the output.
This was done with different chunk length, and possibly
different starting points, and the layers mixed together.

Pianno

Recorded in February 2024 as part of the RPM Challenge.

I wanted to see what repeated bits with changing envelopes
would sound like.  Lots of layers, a bunch of 
pitches all at a ratio of 4/3.

When it was done, I hacked it quite a bit to shorten it and
reduce monotony and then added reverb by convolving it with
a recording I made in a stairwell I know that has 4+ seconds
of reverberation.  I used my umbrella, and recorded the reverb
when I hit the floor with it.   You can hear the umbrella
hit a number of times in the track: I'm not sure why.

Enveloppe

Heavy wind, rain and thunder in Provence, South Of France. Recorded from under a canopy with two large plane trees on either sides of the microphones.

Gear: 2x Schoeps CCM4 L in ORTF

Recording Location: 43°56'19.3"N 5°23'22.9"E

Thunder and rain in Provence during summer.

The Swedish Baron

I count this as more a remix than an original, as it's based on a series of VCS samples by Barry Cullen.

<a href="https://theartistunion.com/tracks/d79020" rel="nofollow" target="_blank">Download for free on The Artist Union</a>

Free Download

It Came From Below

For the big four-0, I started with a 3-track vocal line, then this happened.  I thought I was building the basis for a double-bass improvisation, but adding anything else felt like overkill.

SAWFAY

Intractable

Weekly Beats

The Skittering

This piece is built on the idea of drones as stasis and time as a fixed grid. Stretching time then changes the auditioned perspective of the drone.

Arcturus Minor

Nine spread-out clusters of three different pitches.

RPM2021                       

Rust Smut Mildew Mold

These recordings are all demos.

Interested in the dark side, the quirky side, but mainly in that buttery biscuit bass.

Bassist and composer from Belfast.

Fancy a collaboration? Drop me a line.

The Skittering

Mysterioso

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