loop

asgeta

Soft Error / 12.10.2016 / #fi2u
thank you very much for the provided material: #TheBritishLibrary #TaylorDeupree #F.S.Blumm & LucaFadda #JeremyHegge #TheSlyAndUnseen #denzel + huhn #milenasong #ErikGriswold #FedericoDurand #BillHorist #EugeneCarchesio #SylvainChauveau #EchoCollective #NicolaRatti #Autistici #AndrewPekler #SvenKacirek #MaryLattimore.

#FedorovIgor / 12.10.2016

037. #fi2u #SoftError / 12.10.2016 /

Video gambling addicts, academic researchers, and industry professionals alike describe the trancelike state into which problem gamblers suspend themselves with remarkable consistency: they unanimously call it the machine “zone”, a kind of inner experience during which the rhythmic flow of human-machine collusion borders on mysticism. Time is abolished in the act of contemporary video gambling―simulated slot reels roll, virtual poker decks deal, and all worldly concerns are lost―leaving only the aura of total zone immersion in its wake. Sometimes characterized as the crack cocaine of gambling, the intensity of the machine zone is a symptom of casino ergonomics: oxygen-saturated pleasure air, subtly controlling walkways, mesmerizing lights, and, as captured here, meticulously engineered sonic environments all play a role in evoking the timeless void of the zone.
          Although I was not yet aware of the extent to which casinos tailor their environments for maximum comfort (and, correspondingly, profit), I did know as I crossed the threshold of my first casino floor earlier this year that it would not be my last visit. Hit by a cornucopia of slot machine tones, triggering aleatorically and coalescing into shimmering masses, I was struck by the need to return and record the sounds that so entranced me. It wouldn't prove to be easy―casino security is intense (you can hear me get warned of the consequences of taking photos at the beginning of the disc's second track)―and due to the clandestine nature of the operation, my recording techniques were by no means sophisticated. Equipped with nothing but an Olympus LS-11 recorder's internal microphone stashed in a sweaty coat pocket, I allowed the lure of the zone to guide me through a series of ambling recording sessions over a period of four months, the best of which are included here. 
          I learned a lot about casino sonics in the process: game designers, for example, tune their machines to the key of C in order to optimize harmonic cohesion; one team of designers, the story goes, even spent a month perfecting a single 'ding' sound on one machine. In the interest of preserving the true ambient sounds of the casino these recordings are completely untreated, but lost in the sea of chance I did exert some affirmative control by means of meandering intent and my actual playing of the machines. And by participating in the games myself I got a taste of the financially debilitating consequences that accompany the enchantment of video gambling. The disc in your hands represents my endeavor to bring you the zone experience without the harsh comedown of its unfortunate reality.

Adrian Rew: 3/31/2013 - Horseshoe Casino, Cleveland, OH

Dalglish - Venpin

Gusenitsa

Loop Dell'allontanarsi

a little modular environment here...

a make noise phonogene and modcan cv record looping a hohner pianet. incidental noises from a mikrophonie contact mic module. various filters by pittsburgh, intellijel and serge and some of the channels going into a make noise erbe verb.

a dixie oscillator is used as an LFO, as is a vulcan modulator and an eowave zone BF modulates a filter and a bit of pitch on the phonogene.

oct 20, 2014 (two loops for e. piano + contact mic)

'Kenrimono' LP (PAN 4)
All sounds by ILIOS, 2009.
http://p-a-n.org/shop/

ILIOS — Kenrimono (PAN 4)

The sounds of the Limpopo river at dawn, above with a pair of omni microphones, and below with several hydrophones.
Recorded at "The Bridge To Botswana" on the 19th of November, 2014 at Mmabolela Reserve, Limpopo, South Africa during the 'Sonic Mmabolela' residency, organized by Francisco Lopez & James Webb.
Many thanks to all those involved with the residency, and to the people who lent me money which made my involvement possible: Mum, Dad, Oma and Rachael B.

Above & Below The Limpopo River At Dawn

A recording of the advertising calls made of several male black grouse made on the moorland at Banchory, Scotland. The black grouse is an upland bird of north and west Britain and about the same size as a domestic chicken. The male or 'cock' is glossy black with a red wattle over its eye, a white wing bar, and a distinctive lyre-shaped tail. This contrasts with the smaller grey-brown female. The black grouse is a bird of moorland edge, hill-farms and young conifer plantations, often spending its entire life span very close to its birth site. Like all grouse it is mainly vegetarian, feeding on heather shoots, bilberries, and a variety of leaves and berries from trees in the winter. In spring, the males indulge in elaborate displays at a courting ground or 'lek' to establish mating rights. This 'lekking' behaviour involves each male strutting and posturing whilst producing a song that combines bubbling noises with harsh grating sounds. After displaying and mating, the male has nothing more to do with its family. There are currently 6,500 displaying males each spring and this is a huge reduction on the numbers recorded in the 19th century. The disappearance of black grouse from many areas is thought to be due to the intensification of agriculture and overgrazing by sheep and deer. Wire fences also cause numerous casualties.

Shelf mark
W1CDR0001396 BD3

Subjects
Birds

Recording date
1967/04

Recording locations
Banchory, Fife, Scotland: OS Grid Reference(326500,688500)

Recordist
Shove, Lawrence

Species
Black Grouse, Tetrao tetrix

Image reference https://www.flickr.com/photos/mfmb_bentley/27193295087 (Michael Bamford)

Black Grouse song (example 1), Fife, Scotland, April 1967

Autumn Sketch / Feedback + Horns

The sixth show in the Cyrk series ‘Pattern Compulsions’ curated for Resonance 104.4FM, is an exclusive mix by Dalglish..
Born in Edinburgh. Chris Douglas – aka O.S.T. / Rook Vallard / Dalglish grew up in San Francisco and began studying piano at age 8. Released first EP on Detroit based Switch Records in 1992. Founded Qlipothic Records in 1996. He has created a large body of work, a highly textured and confrontational take on traditional forms of electronic dance music.

With initial releases and early formative years spent in Detroit and San Francisco, he acquired several high profile fans such as Autechre who had him support their 2001 ‘Confield’ tour of North America, then later brought him to Europe to play their curated ATP festival, where he has remained since.
The digital only version of ‘Benacah Drann Deachd’, his latest release has been receiving some of his most eager reception to date, with a full page review in the June issue of the Wire:

“Chris Douglas haunts his own music. A nomad and something of a loner, he has rattled around the electronic music network like a busted component for the last decade and a half [...] It’s appropriate, because his music is one of the most striking evocations of the life of the mind that you’re ever likely to hear. The music is substantially live, improvised within a loose framework, and the shifting layers of grey-green tone, fractured samples and nervous tics that whip around the stereo field obsessively tease out new geometries and shapes ..” Derek Walmsley, The Wire



Pattern Compulsions #6 - Dalglish

Rain Song

Exclusive track taken from the upcoming 'Sound Architects' CD...

P Jørgensen - Waves
Antonymes - Imagining Figures Of Light
Tape Loop Orchestra - You Cycle You Die (Live Rome 22.07.12)
Simon Scott - Hijiri
Field Rotation - Organ Studies I

This will be a limited edition letter pressed CD  that includes a printed insert and download code and comes with each ticket purchased for the upcoming concert in Bristol on 10.11.12. 

More info and ticket options here:

www.fluidaudio.co.uk/2012/09/17/off-key-sessions-sound-architects/


Tickets available here

Simon Scott - Hijiri

The first track from an EP of refined studio sketches, with two additional remixes by Zvuku & messagetobears, released by futuresequence on 15/10/2012. Available for download from http://tinyleaves.bandcamp.com/ & http://futuresequence.bandcamp.com/
(Cover image is by Future Sequence)

Autumn Sketch / Feedback + Horns

Andrew Pekler