Great atmosphere Dave, a lot of humidity and the air is so thick you can cut it

Love the sudden drop and change in atmosphere

a very interesting and sustained soundscape.

Superb! No trouble at all imagining a steamy New England evening. Glad the weather gods realized you two weren't to be trifled with.

Excellent piece, Dave. I'm glad the rain cleared for just long enough for you to perform.

Poised in anticipation of an impending cataclysmic shift

2012

Fairness

More Water (from the album "hinterland", out on Spotify)

Come outside!
we can almost touch
the spring moon

Nakamura Teijo was a Japanese poet from Kumamoto. A great admirer of Sugita Hisajo, she started writing haiku poetry in 1918, when she was eighteen. In 1934 she joined the prestigious Hototogisu magazine and, in 1940, published her first poetry collection, Shunsetsu 春雪. In 1947 she launched a magazine called Kazabana, which she edited and supervised until her death, in 1988.

almost (naviarhaiku535)

More on the 641st weekly Disquiet Junto project, Re-re-re-re-revise — The Assignment: Take an old track and make it better — at https://disquiet.com/0641/

Phase Transition (disquiet0641)

Marco Lucchi : analog synthesizer and piano

17 aprile 2024

Esatonale [7]

The kine sym_02

SPECTRAL   DREAM   -   2

Composition pour le Naviar Haïku Music challenge 545.
Sur un haïku de El Wud:
white petals
on the stormy sea -
floating memories

https://www.naviarrecords.com/naviarhaiku545-white-petals/

Stormy Memories (NaviarHaiku 545)

Micoilalacora

Experientis imulsenti

This is an excerpt of a performance given on the front steps of the Peterborough Town House (1 Main St., Peterborough, NH) between approximately 10pm and 10:40pm on June 8, 2012 as part of The Thing In The Spring 2012. I made the sound as <a href="http://gregorykowalski.com">Greg Kowalski</a> projected his visuals on the side of the building across the street. It was an intermittently rainy (sometimes stormy) day, and we weren't sure we would be able to play outside. But the rain stopped about half an hour before we set up so we decided to take a chance. The rain started up again about five minutes after we had gotten our equipment back into our cars after playing.

I played Monotron Delay, Drone Lab and prerecorded cricket/cicada sounds, with a short effects chain consisting of a phase shifter and a Deluxe Memory Man. No looping; stuff that sounds looped was achieved in other ways. I recorded it on a Zoom H4 digital recorder at 96KHz/24-bit. Post-production was minimal: reduce the amplitude by 2 dB, add fade-in and fade-out to the selection, and convert to a 48K 320mbps MP3.

Image: "storm breathing dragon" by McBeth - see http://www.flickr.com/photos/mcbeth/3766612842/ - licensed under Creative Commons Attribution-NonCommercial-NoDerivs 2.0 Generic (CC BY-NC-ND 2.0).

Ouroboros: Unsettled Night (excerpt)

This track is a transformation, in honor of painter Clyfford Still, of a sample of J.S. Bach's Brandenburg Concerto No. 2, II. Andante, culled from this recording: http://archive.org/details/J.S.BachBrandenburgConcertoNo2

More on the Clyfford Still Museum at clyffordstillmuseum.org.

More on this 36th Disquiet Junto project at: http://disquiet.com/2012/09/06/disquiet0036-cstillconcerto/

More details on the Disquiet Junto at: http://soundcloud.com/groups/disquiet-junto/info/

-----

My process:
1.  I took an eight-second snippet of the source recording, starting at 4:33 (happy birthday, John Cage!) and going to the end of the track, then resampled it from 22.05K to 96K.
2. I stretched it to its current length using the Paulstretch effect in Audacity.
3. I duplicated the track and transposed it a minor seventh higher.
4. I duplicated the track again and transposed it a major seventh higher.

That's it other than normalization and transcoding to MP3. All steps performed in Audacity. Elapsed time: about 90 minutes.

I chose the intervals of major and minor seventh because these "dissonant" intervals are characteristic of much of the modernist music that was being written during the Abstract Expressionist period in visual art.

The image is the spectrum of a mono version of this piece. You can see the full image at http://www.flickr.com/photos/seidel/7949114640

Stillness [disquiet0036-cstillconcerto]

Just playing around with a new performance patch. More or less what's in the photo, with a couple of changes. Recorded live direct from mixer to Zoom H4N. Added a small fade-in at the beginning, otherwise unedited.

Gear (starting top center and moving counter-clockwise):  Ekdahl Moisturizer, Gristleizer, Moogerfooger FreqBox, Woftone Chaos, Moogerfooger Ring Modulator, Moogerfooger MuRF, Moogerfooger ClusterFlux, Koma Kommander, Deluxe Memory Man. The thing with nine knobs is a 3x3 matrix mixer made by Repeater Electronics. Also used, but not pictured: a four-key tunable CV controller also by Repeater Electronics.

The photo is also at http://daveseidel.tumblr.com/post/31372576308

Sketch (2012-09-12)

The source audio for this track is part three of the Kenneth Kirschner album June 5, 2012, which features Kirschner on piano and Tawnya Popoff on viola. The album was released in September 2012 on the shskh.com netlabel, where it is available for free download.

More on this 40th Disquiet Junto project at:

http://disquiet.com/2012/10/04/disquiet0040-kirschnerplus1/

More on Kenneth Kirschner at:

http://www.kennethkirschner.com/

More details on the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/info/

-----

I wrote a Csound program to read in the original track and generate a "double" using a waveshaping process based on Csound's "chebyshevpoly" opcode. This opcode allows control over individual harmonics, and I used prime harmonics 2, 3, 7, 11, 13, 17. Each generated harmonic is controlled by an LFO whose frequency is inversely proportional to the  number of the harmonic; e.g., the second harmonic's LFO has a frequency of 1/2, or .5 Hz; the fifth harmonic used 1/5 or .2 Hz, etc. The shape of the waveform I used for the LFOs, combined with the very slow frequencies, results in an envelope that can sound percussive or plucked. This track also has a bit of reverb to help it somewhat match the ambience of the source track. Finally, I took the "double" and combined it with the original track in Audacity, and this piece is the result. The elapsed time of the project (including writing these notes) was about three hours.

The intent was to add new timbres with a contrasting texture (striated in comparison with the smoother surface of the source material), but to try to do it in such a way that the subtle and delicate beauty of Kirschner's piece was not obscured. I hope that the end result can be heard as an organic extension of the original piece.

The image is from http://en.wikipedia.org/wiki/Hor and is a statue of the ancient Egyptian king Hor. On his head is the symbol "ka", an Eqyptian word that denotes vital essence, soul, or double.

Ka [disquiet0040-kirschnerplus1]

Unedited improvisation recorded directly to Zoom H4N. Made with Drone Lab, Digitech Grunge, 4ms/Repeater Noise Swash, Malekko Wolftone Chaos, Repeater matrix mixer, Behringer mixer, Ekdahl Moisturizer. Thanks to Martin Freeman who made the Noise Swash (built from a 4ms PCB with some additional mods) and who took the picture.

There is now a <a href="http://disquiet.com/2012/11/14/dave-seidel-noise-swash/">very nice writeup</a> on this piece at Disquiet. Thanks, Marc!

Unsubtle Body

This is an unedited, unprocessed live recording, direct to Zoom H4N off the mixer. From a performance at 119 Gallery (Lowell, MA), November 17, 2012.

I used a large (14") Tibetan bowl with two SM57 mics. The signal was processed by an effects chain consisting of (in order) Moogerfooger Ring Modulator, Moogerfooger Cluster Flux, Deluxe Memory Man and Ekdahl Moisturizer. I also used the ring modulator's carrier oscillator as a drone, through a 4ms/Repeater Noise Swash and a Moogerfooger Freq Box -- this was a separate signal, but it was also routed through the effects chain.

I struck the bowl with a typical felt-covered wooden beater and bowed it with a violin bow (these are the high-pitched notes heard periodically). In a couple of spots, I used an EBow resting directly on the exposed springs of the Moisturizer. Feedback was employed at several levels throughout.

Image: "Suspended from Afar, Mountainville, NY" by Grufnik (http://www.flickr.com/photos/grufnik/1411375138/). Licensed under Creative Commons Attribution-NonCommercial-NoDerivs 2.0 Generic (CC BY-NC-ND 2.0)

Suspended (at 119 Gallery, 2012-Nov-17)

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.

Ouroboros: Unsettled Night (excerpt)

Dave Seidel

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