beautiful stuff i run into on muffwigglers or just browsing soundcloud looking for module demos etc.

modular synth pieces

demo of Synthesis Tech E340/E350 polar opposites

E340/E350 experiment

2 Track live. I boiled my system down to 1 6u case to play with a Qunexus.  Besides a little reverb, all the ambience is provided by the Wow and Flutter, which is on the "lead".  The envelope follower seems to push the delays slower into nearly inaudible range while the line is playing and then springs back in the gaps. Also, the WET output feeds an LPG to create the "tuned percussion".  The lead line itself is e350 played through an SOB.  Qunexus pitch straight into the 1v/oct, gate into the SOB vactrol input.
I used the PTG to "pluck" the Verbos filter (verbos vactrol response very fast by itself) The extra control and life the PTG brings makes me wish SSF would just make a damn LPG. Pressure points/brains combo plays with the snare pitch and fm amount. SSF mix mode saturation is all over the place..the Verbos also saturates nice too.

Clock - Noisering
Triggers - Triggerman
HiHats - TipTop808
Low end - Subcon M15 Fm'd by the morph output of 2nd M15 through Verbos amplitude and tone controller.  
Snare/Rim - subcon m37 fm'd a bit, optomix.
Tuned Percussion - WET output of Wow and Flutter through optomix. 
Main Line - e350 morphed by slew'd Noisering.  Filtered by SOB. Run through Wow and Flutter.

Disarray

Generative patch with lead voice created by wave folding a filtered oscillator.

Bark Lee Bug Face By Dcramer

Fields

A pensive semi-ambient track, based on an 8-bar mostly generative sequence that changes slightly with each repetition.

The sequencer is generated by using a Doepfer A189-1 in XOR mode (mode 4) to transform the Verbos Voltage Multistage's Ref output into a more complex pattern, which is then quantised to form a melody. The VM's two CV outputs drive the A189-1's BC CV and a VCA between the Ref output and the A189-1's signal in. This means that each step of the VM has a different variation of the main melody, creating an 8-bar motif with common elements. The Ref out also pings a PEG channel, which is used as a clock multiplier to get 8th notes to trigger the A156 quantiser.

Further variation comes from the fact that the CV driving the VCA that attenuates the Ref output ALSO goes through a VCA! This is modulated by an A149-1's 2^n output, which is clocked every 8 bars to introduce slight random variation into the range of the melody.

The main melody is played by a Braids in WTBL mode, using its internal envelope to drive its own VCA as well as Timbre, into Erbe Verb. The Color is modulated by the A149-1's bottom half, clocked so that each bar is played using a different wavetable.

There's also a sort of bassline sequence that chugs away (Rubicon saw, double saw and sub into Pitts Filter), using Klasmata to vary its rhythmic sequence (with Klasmata's Fill CV driven by VM's CVb). Finally, there's a dirty kick drum (Pitts Generator into Optomix, opened by Maths) and hi-hats (white noise through resonant HPF into Optomix). The rhythms of those come from a combination of clock dividers, logic and Turing Machine.

Sun 189

"Beautiful Is a Filter" is a digital artwork that challenges society’s obsession with beauty, reducing it to artificial and superficial standards. The piece explores the raw, unfiltered beauty of humanity through a language that does not exist—an invented linguistic form created entirely from processed audio mosaics of human voices.

This unique language is both alien and familiar, evoking a sense of universality beyond spoken words. By crafting lyrics in a non-existent language, the artwork invites listeners to connect emotionally, bypassing the filters of semantics and societal expectations.

Inspired by glitch art and the “aesthetics of error,” the track celebrates imperfections, flaws, and disruptions as intrinsic elements of beauty. It challenges us to redefine beauty as something deeply personal, imperfect, and authentically human.

Beautiful Is a Filter

Videoclip

From the album and audiovisual performance "False Awakenings"

Relentless and unapologetic. Like rush hour traffic inside electric wires.

False awakenings is a blend of abstract rhythmical patterns, evolving ambient landscapes and detailed sound design. Audible generative structures provide the canvas for a visual interpretation of time - motion and memory. As a measure of disorder an immersive audiovisual world is created, a temporal construct of bass, light and colour.

Premiered at FIBER Festival, Amsterdam, The Netherlands, 2015. Supported by the Amsterdam Fund for the Arts.

www.pandelisdiamantides.com/false-awakenings

False Awakenings

I Never Knew You Cared

Collect

🟦 Bluets: A Sound & Light Artwork by Pandelis Diamantides & Kristia Michael 

🎵 Music Single: pandelisdiamantides.bandcamp.com/album/bluets 
 🎥 Video Art: vimeo.com/pandelisdiamantides/bluets 

"Suppose I were to begin by saying that I had fallen in love with a color…" — Maggie Nelson 

Bluets is a meditation on silence and monochromes—a work in which voice and electronic sound dissolve into the luminous essence of blue. Inspired by journeys across the Aegean Sea and the layered depths of Mediterranean urban landscapes, Bluets explores the infinite expressions and emotional resonances of the color blue. As Yves Klein might suggest, it is both a technical challenge and a metaphysical experience. As John Cage reminds us, there is no such thing as true silence. But I have heard the colour blue. 

Created collaboratively by composer and visual artist Pandelis Diamantides and vocalist Kristia Michael, Bluets occupies a unique space at the intersection of contemporary classical music, experimental electronic soundscapes, video art, and the poetics of light. 

Thank you for being part of this journey. 💙 

#Bluets #PandelisDiamantides #KristiaMichael #ElectronicMusic #ExperimentalMusic #NewMediaArt
credits
released March 18, 2025 

Pandelis Diamantides (Sound & Light) 
Kristia Michael (Voice) 

Cover Design: Pandelis Diamantides, Machteld Jacques

Bluets

Owns Nothing to the Light of Day

from the audiovisual work Go Back to Hiding in the Shadows by Pandelis Diamantides

A digital granary of processed instrumental and electronic sounds, field recordings, rock formations, plants, animals and swarms unfolds a narrative of becoming.

The prime material of the work consists of deconstructed human voices, physical instruments and field recordings dissolved in an imagery of photographs, videos and processed visual material collected around the Troodos mountain range on the island of Cyprus.

The material for this album was shaped during performances at:

Fotonica Festival, Rome, Italy, 2018 
Patchlab Festival, Krakow, Poland, 2018
Oddstream Festival, Arnhem, the Netherlands, 2018
Retune Festival, Berlin, Germany, 2018
LOOS, The Hague, the Netherlands, 2018
Athens Digital Arts Festival, Athens, Greece, 2018
AV Node, Istanbul, Turkey, 2018
International Film Festival Rotterdam, Rotterdam, the Netherlands, 2018
FIBER Festival, Amsterdam, the Netherlands, 2017
Thkio Ppalies Gallery, Nicosia, Cyprus, 2017

World Premiere Audiovisual Performance:

International Film Festival Rotterdam - Sound//Vision 
Rotterdam, the Netherlands, January 27, 2018 
Curator: Peter van Hoof

Album Release Performance:

Trippen Concept Store
Berlin, Germany, April 13, 2019 
Curator: Jakub Kubica

Music and Visuals by Pandelis Diamantides

www.pandelisdiamantides.com 

Mastered at AV Playroom, Nicosia, Cyprus 2019 
Mastering Engineer: Marcus Papageorgiou
 
Publisher:Studio Pandelis Diamantides
Producer: Machteld Jacques

Release Date:
11/04/2019

© Pandelis Diamantides 2019
℗ Studio Pandelis Diamantides

Go Back to Hiding in the Shadows

Owns Nothing to the Light of Day

Video

With Every Tear a Dream

From the collection of audiovisual works "Quickly Photographed and Released Unharmed"

Quickly Photographed and Released Unharmed is a collection of generative audiovisual artworks by Pandelis Diamantides. The collection is part of Diamantides' ongoing research into the non-representational use of screens.

The collection reflects on our visually overstimulated environment. Diamantides seeks to create a direct experience with light and sound, using the screen as a medium rather than a representational canvas. The screen becomes a light source, inducing after-images in the vision of the viewer through rapid successions of light and colour. The works in the collection affect the intake of newer information through overstimulation.

The artworks carefully deploy light as a medium; after-images from previous frames are superimposed over newer frames in the vision of the viewer. This optical layering means that light patterns perceived by the eye and brain complement to the visual material currently presented on screen. By exploiting the neural mechanisms underlying visual perception the viewer becomes an integral part of the artwork, simultaneously the observer and the creator.

https://www.seditionart.com/pandelis-diamantides/collection/quickly-photographed-and-released-unharmed

Quickly Photographed and Released Unharmed

With Every Tear a Dream

From the  album and audiovisual performance "Quickly Photographed and Released Unharmed"

Quickly Photographed and Released Unharmed is a collection of generative audiovisual artworks by Pandelis Diamantides. The collection is part of Diamantides' ongoing research into the non-representational use of screens.

The collection reflects on our visually overstimulated environment. Diamantides seeks to create a direct experience with light and sound, using the screen as a medium rather than a representational canvas. The screen becomes a light source, inducing after-images in the vision of the viewer through rapid successions of light and colour. The works in the collection affect the intake of newer information through overstimulation.

The artworks carefully deploy light as a medium; after-images from previous frames are superimposed over newer frames in the vision of the viewer. This optical layering means that light patterns perceived by the eye and brain complement to the visual material currently presented on screen. By exploiting the neural mechanisms underlying visual perception the viewer becomes an integral part of the artwork, simultaneously the observer and the creator.

https://www.seditionart.com/pandelis-diamantides/collection/quickly-photographed-and-released-unharmed

Fragments of Here

Fragments Of Here

Πολλά μέρη αυτού του κόσμου τα αποφεύγω. Κάποια άλλα τα δημιουργώ. 

"Bleeps, microsound and infrabass. A taste of paradise in binary language. Like rush hour traffic inside electric wires. ..."

Electronic Music 🎶 + Expanded Media 👾| Mediterranean 🌊 | Based in Amsterdam ❤️🖤

Pandelis Diamantides is a new media artist, electronic music composer and researcher who splits his time between Nicosia, Athens, and Amsterdam. His art installations, sound compositions and audiovisual performances are carefully crafted, highly immersive experiences. He has taken part in various collaborative projects, creating sound, visuals and software for contemporary dance, theatre and interactive audiovisual installations and performances. His work has been presented in international festivals, concert halls, clubs, theatres, galleries and museums in Europe, the Middle East, Asia, South America, and the United States. These include MoMA PS1 (New York), the 55th Venice Biennale, Bozar Centre for Fine Arts (Brussels), Museo Nacional Centro de Arte Reina Sofía (Madrid), the Madrid Planetarium, the Benaki Museum (Athens), Athens Digital Arts Festival, TodaysArt Festival (The Hague), the FOAM Museum (Amsterdam) and Amsterdam Dance Event. His works include Green (2011), False Awakenings (2015), Go Back to Hiding in the Shadows (2019), Quickly Photographed and Released Unharmed (2020), and Παλμός (2023).

freelance composer - music for film,tv & theatre.

this account mostly contains electronic improvisation pieces and few synthesizer demos.   for theatre scores and contemporary music visit www.babic.com

I Never Knew You Cared

Pandelis Diamantides

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