Keyboard improvised.

Buchla 218lem via midi to roli equator2, arturia pigments2 in ableton live.

Plaits, morphagene, Buchla/tiptop 258t, loquelic iteritus, wmd Metron sequencer, VULT freak; mixed through wmd performance mixer.

Audio in to Ableton LIVE via rme babyface pro on MacBook pro 2017 running under Ventura 13.1

Photo: Siletz Bay Sunset by Rawore

Hybretta

a brief exploration of intersecting harmonies and timbres inspired by my recent listenings to the works of Toru Takemitsu. Buchla 200 analog modular system, waterphone, Metasynth, pan lids.

Meldings

Created by harvesting sounds in the standalone software Emission Control 2: https://github.com/EmissionControl2/EmissionControl2  The source sound was a mouth sound and a pan lid.

Alien Typewriter

Alien Dinning Hall

yet another experiment with the granular app: Emission Control 2

Alien Unfoldings

Alien Fragments

I recorded this in an apartment I was staying at in New York. It was early in the day. I was the only one up. I had another hour before my solitude was scheduled to be interrupted. The building’s HVAC each night disturbed my sleep, but as with a nightmare, those same sounds were tranquil, even beautiful, come morning. I had attempted another 30-second recording before this one. While it was underway I noted several disappointing disturbances — creaks and pops, the aural detritus of a building waking up. Apart from them I heard an extraordinary spatial drone, a manifestation of overtones, a symbiosis of modern domestic infrastructure and a room of high ceilings, a hard floor, and a wall of glass at one end. When the first attempt ended, I took a slow, deep breath and hit record. I knew in the moment that it would work out well. There is something of Schrödinger’s cat to the act of field recording. A place is many places when you listen to it over time, but when you hit record, it gets clarified (reduced, flattened, distilled) to one specific environment. This can feel like an exertion of influence when you undertake the recording process consciously, when you have situated yourself in the moment. I felt a kind of authorship as the second recording was underway. It was precisely what I had heard beneath the extraneous noises the first time. After 30 seconds had elapsed, I ceased recording. I had a sense it had worked out, a sense confirmed many hours later, when I listened back for the first time, on the flight home. Just minutes after this recording ended, the room went suddenly silent. The air conditioning system had reached a point — whether barometric or calendrical — that caused it to shut off. Minutes later, the lawnmowers began their prowling. I had been even more fortunate than I’d known when I hit record that second time.

In One Place (Second Attempt)

My continuing experiments with frequency shifted/ring modulated shakuhachi controlling my Buchla 200 Electronic Music Instrument. Video of similar experiments here: https://youtu.be/9MDbqCx72gk?si=lpfZvokXuTHAIsPp

Analog Breathing

Hallucination One

just playing around with morphagene TLA (feedback loop recording) with high gain - got this really pleasing wall of noise.

Myoclonus

In this episode Todd Barton takes us on a musical and literary journey back to 1985 when he worked with Ursula K. Le Guin, famous for the EarthSea novels. Todd Barton created the musical score for Ursula’s fascinating novel, Always Coming Home, which focuses on a people that might have lived a long time ago in Northern California, and the book came with a cassette tape of music, songs and poems for The Kesh co-created by Ursula and Todd. 

The music for Always Coming was originally created using authentic acoustic instruments and Todd’s Roland Jupiter 8. Unfortunately he sold the Jupiter 8 many years ago, so has re-created the sounds from the track Music of the 8th House using the Buchla Music Easel.

Synth Stories 15 - Todd Barton / Ursula K. Le Guin - Always Coming Home - Buchla Music Easel

warp: poems, ableton, monome, keys. samples, microtuning, kyms, soundplane, eurorack


Hybretta

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