some parts are really cool ! That what I n

Some parts are fucking good ! That's fucking good dronoise !

Nice Track! And who expected such an ending?

@kid-feardive: That's what happens when you switch the box into feedback mode.

2012

Ambient/experimental track from "it feels like rain" by szelest

Spotify - open.spotify.com/artist/1IJfN...

DM me with your ambient for a future colective project - filiptjaworski@gmail.com

Enjoy and have bombastic tasty coffe, love be with you
#ambient
#experimental
#szelest
#undergroundartist
#independentartist

Szelest - Maybe Inside Out Is Out |avant-garde|  |minimal piano|  |ambient|

N06AX11

Old but new track inspired by the great Beaumont Hannant

The Reason For Indecision

New Data_

In The Land Of Seagulls feat. Luigi Manfrin  "Acrylic Mixtures" for accordion solo

The kine sym_02

(Nonprofit) original track
Thank you to whoever likes or comments or follows or reposts my music, Home made music made by myself as a hobby please leave a comment. Good or bad 👍😁 hit me up with a like or and comment or a repost and il check out your music

Mad Haze (original Track)

wavelengths of light vol. 1

either way

COEUR MS

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

01 - SA - Albion One - eDNA - String Hit MW - Smooths_Low String Stabs Shorter Decay MW_Beauty Strings MW - Straight Gate
02 - UVI - FALCON - Atmospherics - Ethereal - Lost Orbiter
03 - SA - OACE - Chamber Grid

Lost Orbiter

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.

Unsubtle Body

Dave Seidel

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