Nice recording quality, I was wondering how it would end up!

This could have gone on for twice as long!  Again Bravo! Thanks so much for coming & performing here in Colorado! 

Lovely stuff, Dave. The material clearly could have used  much more time to develop.  

Superb set, Dave. I only wish I could have heard it 'in the room'.

Nice work! I love the rusty, mechanical quality of the drone :)

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 was my set at the <a href="http://disquiet.com/2012/07/24/disquiet-junto-denver-walnut-20120819/">Disquiet Junto concert</a> at The Walnut Room in Denver, Colorado on Sunday August 19, 2012.

The first four minutes or so comprises my take on the Disquiet Junto <a href="http://disquiet.com/2012/01/30/disquiet0003-glass">"Expanded Glass Harp"</a> project, and features an amplified wine glass. It then segues into a second section where the primary sound source was a cell phone played with an E-Bow. More about this below.

My equipment consisted of:
- wine glass (partially filled with water) to which a transducer was taped
- Vibe It (transducer and driver)
- contact mic (of <a href="http://cranksturgeon.com">Crank Sturgeon</a> vintage)
- Grunge distortion pedal
- Heavy Metal distortion pedal
- Drone Lab
- Moogerfooger FreqBox
- 3x3 passive matrix mixer (made by <a href="http://hellospiral.tumblr.com/">Repeater Electronics</a>)
- Deluxe Memory Man
- E-Bow
- Motorola DroidX running the GaussWave app

In Section One, the sound was produced by a feedback loop driven through the wine glass by the Vibe It (taped to one side of the glass) and picked up by a contact mic (held and rubbed against the other side of the glass). I also at times "played" the glass in the usual fashion (by rubbing the moistened tip of my index finder around the rim).

In Section Two, I unplugged the contact mic and replaced it with a cable coming from my mobile. I was running the GaussWave app, which graphs and sonifies the data being picked up by the phone's internal magnetometer (a sensor that "sees" magnetic fields and is sensitive to changes in those fields). I provoked the magnetometer with an E-Bow, a small hand-held device designed for creating infinite sustain with a guitar string by emitting a pulsating magnetic field.

Many thanks to C. Reider who helped me home in on the piece, to Marc Weidenbaum for creating the Disquiet Junto project and emceeing (in the old sense) the concert, and to C. Reider and Carl Ritger for doing the work of making it all happen. (Is it really just a coincidence that they have the same initials?)

Update: <a href="http://disquiet.com/2012/08/21/dave-seidel-mysterybear-junto-denver-2012/">a nice mention on disquiet.com</a>.

The image is called "resonance cascade" by neonarcade on Flickr: http://www.flickr.com/photos/neonarcade/16453557/ and is available under a Creative Commons license.

Resonance Cascade [disquiet0003-glass+] (at Disquiet Junto Denver)

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.

Resonance Cascade [disquiet0003-glass+] (at Disquiet Junto Denver)

Dave Seidel

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