Up Until Then

Until

I went to the movies twice this summer, after not having been there since well before the pandemic. This music came out of that experience, as I was reminded of how much I love the cinema.

Roll The Credits

Cast of Characters:
cgmaness-- @user-419254289-15129531 –- Chris-- acoustic guitar, electric guitar, bass, drums, composition
Entheogenic Psychonaught (Josh Clary)-- @josh-clary-1: – piano, lap slide
                                       
 This song began by Chris writing it with his acoustic guitar at the beginning of last summer. He passed it along to me, who added the piano and slide parts. Then Chris got it back and added the rhythm section of bass and drums, along with some electric accents. It's been a few months since we've released a collaboration together, not by choice, but because of our busy lives. We have been working on this one for about half a year, trying to add and cut other elements into it. We ended up deciding to put out a simpler version, which is what you hear here. It's been a long time coming, and is our final offering of 2023. It's been a great year of sharing music with all of you out there in SoundCloud land. I appreciate all of your ears, support, and sharing of your talents. We hope you enjoy listening to this one as much as we enjoyed making it. Happy new year 2024!
P.s. Everyone should check out Chris's slightly different version on his page. It features him singing, and is a very cool treat indeed! Chris is in my top three creators on the whole Cloud. If you're not familiar with him, do yourself a favor and check out what he has on offer.

Between Stations (with cgmaness)

Text Me When Home

Recording sessions from 02/03/2023 - 02/04/2023.
8 tracks (mono) MOOG Modular (vst Arturia),
presets, mixing, processing and editing: Pier WILL.

When messing with the DNA of a virus, there is always a risk that it could contaminate your DNA.
Scientists will tell you that it is "practically improbable, if not impossible..."
However, you should know that the AIDS virus can write in the DNA of the infected person and that a vaccine is unrealizable, even with mRNA!
All this to say that when you “make” a virus, you have to be careful unless you want to create a “chimerical catastrophe”...

Lorsque l'on joue avec l'ADN d'un virus, il y a toujours un risque qu'il puisse contaminer votre ADN.
Les scientifiques vous dirons que c'est "pratiquement improbable, voir impossible..." 
Il faut savoir pourtant que le virus du Sida peut écrire dans l'ADN de la personne contaminée et qu'un vaccin est irréalisable, même avec un ARNm ! 
Tout cela pour dire que lorsque l'on "fabrique" un virus, il faut être prudent sauf si l'on veut créer une "catastrophe chimérique"... ________________________________________________________________________
🛠 - Made with MOOG & Modular / Multi-tracks
🎹 - Composed, arranged, performed, produced by Pier WILL & Studio 4H09
🔲 - Artwork - Pier WILL
🙏 - Acknowledgements - Ableton, AKG, Arturia, Audacity, Cantabile, Focusrite, Korg, M-Audio, MSI, Sony, SoundCloud, Teac, Techniks, Yamaha.
⚙️ - #Ambient #Movies #Experimental 
________________________________________________________________________

❤️🕊️🙏

Reverse Transcriptase

WUNDERKAMMER

Here I Am

2024-02-07

This is the 2nd track in a short time I've done with Steve. Interesting story this is actually the initial recording I sent. I tried to re-record to maybe fix some of the vocal errors, but the magic wasn't there. So I left everything as is. I just dialed it in for better sound quality and added some vocals in the chorus. Hope you enjoy!

Anxious Little Boy (Music by Steve Vercelloni)

Disquiet Junto Project 0632: Shear Wind
The Assignment: Make the most of the disturbance within a field recording.

Step 1: Consider how when making a field recording, there can be disturbances in it, such as a passing car or plane, or a noise you didn’t notice until you listened back, or a malfunction in the recording equipment. A common such problem is wind shear.

Step 2: Make a recording that has wind shear in it, perhaps by standing in the wind, or recording from a moving vehicle, or through some other technique. Or locate a pre-existing field recording with wind shear, perhaps on freesound.org 1.

Step 3: Make a piece of music employing the recording you made in Step 2, and make the wind shear a focus of the piece. That is, pay attention to, rather than avoid, this sound that you would likely in other circumstances identify as a shortcoming.

===

Track notes:

I spent a couple of days in my hometown/homearea of Normanville on the western coastline of the Fleurieu Peninsula. It's Summer here at the moment, and the weather down south has been particular lovely and warm. I took a long late afternoon walk along the beach, heading south with the heritage protected dunes on one side and a very still ocean on the other. 

Aside from the serene, still conditions there was a nagging, turbulent breeze throughout the afternoon and evening.

I made a few recordings along the way, including one at the foot of the dunes (feat. cicadas) and another on a shallow bed of dried seaweed at the tide break. Though I documented moments of transparency in the recordings, the wind (even with a jammer on the handheld recorder) was prominent throughout.

Since coming home and listening back to the recordings, I thought it would be interesting not only to feature the sound of wind shear, but use its dynamic peaks to control aspects of the composition.

I recorded a sample from the tide recording to my Morphagene module and routed the CV output directly to the clock. The dry/wet mix was set to roughly 60/40, so 60% of the mix would be the dune recording played back in real time, whilst 40% is the tide sample playing back on the Morphagene. Whenever a wind shear event arose (either form the tide or dunes) this would manipulate the time stretching, 'Morph' and 'Slide' parameters of the Morphagene. 

I'm letting the Morphagene play itself for the first half of this track, then subtly manipulating some of the controls to transition parts of the sample and close out the track with just the dune recording.

[Disquiet_Junto_0632] Tidal Jamming

Percusive Mansions

Tristan Louth-Robins is a South Australian artist working principally in the medium of sound art and field recording. Ideas of sound and its signification are key elements in Louth-Robins' practice, traversing the space between the visual and aural his work is realised through the mediums of recordings, installation, visual art and performance. He is interested in sound and its associative implications - including its relationship to objects, technology, urban space, memory and the natural world. 


Since 2005, Louth-Robins has presented work in Australia and internationally as a solo artist, whilst also collaborating with artists, writers, researchers, musicians and performers. 

Working across a vast array of activities encompassing composition, sound design, installation art, field recording and workshops, his work has been featured in events such as the Adelaide Festival of Arts (2006), The National Regional Arts Festival (2012), Mildura-Wentworth Arts Festival (2013), Fairfax Festival (2013) and Adelaide Fringe Festival (2014); and selected works exhibited at galleries including The Australian Experimental Art Foundation (2009), SASA Gallery (2012, 2015), Light Square Gallery (2012) and FELT Space (2015). His audio works have been broadcast on radio including Radio National, Classic FM, The BBC (UK), Acoustic Frontiers (USA) and RBB (Germany).