This is fantastic stuff. Easily one of my fave releases of 2014 so far.

@letterfounder: Yes, in fact I made all of the tracks to start and end abruptly and to have exactly the same length.

@letterfounder: The titles are all from "Crave," if that's what you're asking.

Tracks I made in 2014. Most are standalone, several are performance recordings. One track is from a CD release (~60 Hz, on Irritable Hedgehog), and one track is from a netlabel release (Absence sleeps between the buildings at night, Stasisfield), Three tracks are submissions to Disquiet projects, and two are submissions to 60x60 projects.

2014

Going to watch the new Dune movie next week, so I reupload an old track made about 2010 or thereabouts. Seems so long ago now, but so recent at the same time...Time is erratic.

The Fremen still yearns for the day the desert returns (2013-mix)

A short sonification based on a photograph by <a href="http://sidsmith.blogspot.co.uk/">Sid Smith</a> as part of Sid's String Quartet project, where he offers photos to be used as graphical scores. Go <a href="http://sidsmith.blogspot.co.uk/2014/01/string-quartet-online-collaboration.html">here</a> for details.

I chose a very literal approach that also afforded me the opportunity to play with the very interesting <a href="http://warmplace.ru/soft/ans/">Virtual ANS</a> software. It is possible to treat an image as a sonogram and then translate it to audio. The vertical axis is used for pitch and the horizontal axis represents time, according to the settings one uses. Every detail in the image is represented in some way in the rendered sound. I did some post-processing in Audacity to add some reverb and adjust the amplitude.

The photograph is copyright Sid Smith, all rights reserved.

String Quartet XIV #4 (for Sid Smith)

My first Disquiet Junto submission for 2014 (and my first one in far too long). This project has us take a visualization of the weather in one's local area, and use it as a graphical score.

My process:
- Use the Awesome Screenshot extension in Google Chrome to clip the image from the WeatherSpark site.
- Open the image in GIMP. Transform it by inverting the colors and posterizing.
- Imported the image to Virtual ANS, a program that can convert image into sound. Tweaked the ANS parameters until I was satisfied with the result, and exported it as a WAV file.
- Imported the sound into Audacity. Added a little silence to the end, applied some EQ to boost the bass, applied a simulated plate reverb, adjusted the amplitude, and exported as an MP3.

Additional notes:
- I decided to prepare the image before submitting it to Virtual ANS because it would allow the graphical elements to emerge more starkly.
- There is an artifact at the end the track resulting from the ANS process; I decided to keep it as it seems to work as a coda.
- The weather data came from the Silver Ranch Airpark in Jaffrey, NH, US, which is one of the weather stations closest to Peterborough, NH (where I live).
- The Flickr set shows the original captured image and the altered image: http://www.flickr.com/photos/seidel/sets/72157639652552553/
---

More on this 106th Disquiet Junto project (“Treat the weather as a graphically notated score”) at:

http://disquiet.com/2014/01/09/disquiet0106-sonarvortex/

More on the Disquiet Junto at:

http://disquiet.com/?p=16588

Join the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

0110 [disquiet0106-sonarvortex]

Experimenting with the Shnth in a Hexany 1-3-5-7 scale:

  1/1 25/24 7/6 5/4 35/24 3/2 5/3 7/4

There is no octave as the Shnth has only eight keys/buttons. The opportunity to use tunings like this is one of the main reasons I got the Shnth, where all pitches are specified as integer ratios.

Shth (stereo) into two Digitech Grunge pedals, combined in a Repeater matrix mixer, then though a Moogerfooger ClusterFlux (back into stereo), then a Deluxe Memory Man. Ehdalh Moisturizer in the FX bus. Photo here: http://www.flickr.com/photos/seidel/11939149493/

Recorded in real time. No more than two pitches played at any one time, though with plenty of overlap due to a long decay time plus two layers of flanger resonance (and some reverb).

Image from Wikipedia: https://en.wikipedia.org/wiki/File:Octahedron.svg (Creative Commons).

Hexany Dyads

Recorded in performance at 119 Gallery (Lowell, MA) on January 25, 2014.

I played a <a href="http://shbobo.net">Shnth</a> with processing and looping. The piece is in three sections. To make this version, I edited out the first couple of minutes of playing and added a fade-in at the beginning and a slight fade-out at the ending, but there was no other post-production other than conversion from 96K/32-bit WAV to 48K 320kpbs MP3.

The first section uses an 8-note <a href="http://www.billalves.com/porgitaro/serenadetuning.html">scale devised by Lou Harrison</a>, and the tones and chords were actuated by my breath as I blew into the Shnth's built-in mic. The second section moves back and forth between two 6-note <a href="http://anaphoria.com/wilsonintroMERU.html">metaslendro</a> scales played on the buttons of the Shnth. The third section returns to the Harrison scale, also played using the buttons.

The two channels of the Shnth's stereo output went through two Grunge distortion pedals (used only in the third section), and were then combined into a single channel. This mono channel was split up and routed through a Moogerfooger Ring Modulator and a FreqBox in parallel, and then recombined along with the original signal and sent to a Moogerfooger Clusterflux, the stereo output of which went to a Deluxe Memory Man with Hazarai and finally a Boomerang III looper, both in stereo. I used an Ekdahl Moisturizer reverb unit on the mixer's FX bus. The recording was made directly off the mixer. All the nutty routing was facilitated by a Repeater Electronics 4x4 passive matrix mixer -- a very helpful device.

The Boomerang III loops throughout in pseudo-Frippertronics fashion. In the second section, the Deluxe Memory Man is temporarily switched into a similar mode, but with a different loop duration, which allowed me to build up clouds of notes that were only approximately predictable (similar to the technique used in <a href="https://soundcloud.com/mysterybear/collider">Collider</a>). In the first and third sections, the Deluxe Memory Man is used more like a flanger.

Here's a photo of the setup (taken at home before the gig): http://www.flickr.com/photos/seidel/12135979426/

The image is from Wikipedia: https://en.wikipedia.org/wiki/File:DNA-RNA_D-loops,_greatly_exaggerated.jpg

Loop Studies (119 Gallery, 2014-01-25)

This is track 6 from my new release on the Stasisfield netlabel, <i>Absence sleeps between the buildings at night.</i> For more information (including liner notes and full attribution for all field recordings) and to download the entire release for free, please visit http://www.stasisfield.com/releases/year12/sf-12001.html.

Image copyright 2013 John Kannenberg.

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I wish to live with myself (from "Absence sleeps between the buildings at night", 2014)

This is track 7 from my January 2014 release on the Stasisfield netlabel, <a href="http://www.stasisfield.com/releases/year12/sf-12001.html">Absence sleeps between the buildings at night</a>. This music was written for Greg Kowalski's adaptation of Sarah Kane's play <i>Crave</i>. This track combines some of my electronics with a loop derived from the field recording <a href="http://freesound.org/people/felix.blume/sounds/147863/">Inside an old factory in the ghost town of Humberstone (Chile)</a> by Felix Blume, licensed by him under Creative Commons 0 and used with gratitude.

We will be performing this production as part of the 2014 New York International Fringe Festival, which is happening August 8-24. (We don't have specific performance dates yet, but there will be several shows.)

The title of the track, as with all of the titles in the release, comes from a line in the play. 

For more information and to download the entire release for free, please visit http://www.stasisfield.com/releases/year12/sf-12001.html.

Image copyright 2014 John Kannenberg.

A flower open in the heat of the sun (from "Absence sleeps between the buildings at night", 2014)

Older version: 
https://soundcloud.com/nathaniel-ehrnman/who-watches-the-watchers-sept-2017

As The Bluebird Flies

Who Watches The Watchers

Who Watches The Watchers (Aug. 2023)

https://soundcloud.com/noxpox13 is active again! Was deleted for a day so
i had to upload this for substitute
STEMS https://drive.google.com/drive/folders/1wiU86I4hgRMAQq6Hs9GlM08lZP8efHfl?usp=drive_link

noxpox - Dreamin Ov Moonrocks UPLOAD 2  please go to page13 for the playlist

Ghost (Instrumental)

L-Blue Lime Blues

Researching in my boyfriend's studio I found this synth and I started composing and this came out! I think it's not bad at all, but for a woman who understands little about music it's pretty good! Greetings and happy Sunday!

Jutarnja šetnja

Božena Jurkovic  & Posljednja pomast  -Alegorija  Session 1

Marco Lucchi : analog synthesizer and piano

17 aprile 2024

Esatonale [7]

made in Reaper 7.14

Forever '89 VISCO

3 x Dawesome MYTH (MPE)

all presets (and samples,except VISCO, only blob manipulation) by sadà

post-production in Wavelab Pro 12

Drivers

EYHM - Drivers

分裂し続ける加速 Escalating divisional acceleration

Experimental electronic music, mostly in the drone category. This is where I put live sets, one-offs, experiments, and excerpts from longer releases.

CD: "~60 Hz" on Irritable Hedgehog - http://recordings.irritablehedgehog.com/album/dave-seidel-60-hz

All releases, including netlabel items: 
http://mysterybear.net/music

https://mysterybear.bandcamp.com/

Sorry, SC won't let me follow any more people, so don't feel slighted if I don't follow you back.

A flower open in the heat of the sun (from "Absence sleeps between the buildings at night", 2014)

Dave Seidel

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