Water And Pipe 1

another demo of the a110-4. modulated by a vco2rm sine wave which goes through a mmf6 in high pass mode before going into the 110-4.
this time i tried to push the a110-4 as far to 0Hz as possible and played with envelope shapes and vca behavior, lin and exp, which makes a big big difference on how the fm sounds.

doepfer tzfm 3

Just a quick demo of the "Divine CMOS" module by Non Linear Circuits.

NLC Divine CMOS demo

First jam/rehearsal including my new XAOC Belgrad filter. It's the fuzzy lead sound throughout the whole track. Maybe I went a little over board with it here and there but it sounds just too freaking awesomeee

Altai

End of the Whirl

raycaster

for flute/picc., alto saxophone, percussion, electroacousticly prepared piano, violin or viola, cello, and fixed/live audio media

Performed by Vertixe Sonora Ensemble at the Centro Gallego de Arte Contemporáneo (CGAC)in December 2018.

Performers: Clara Saleiro (flute), Pablo Coello (saxophone), Diego Ventoso (percussion), David Durán (piano),Rubén Barros (electric guitar),Ángel Faraldo (electronics),Roberto Alonso (violin), Ailsa Lewin (cello)

PROGRAM NOTES

In computer graphics, “raycasting” is the process of tracing the intersection of a virtual surface with an invisible “ray” emanating from a spaceless point within the virtual scene. In Julião Sarmento oeuvre, I constantly sense the shadow of this unseen seer, the eye or lens that possets its existence only through a sensual self-embodiment in the materials it traces. The duality of substance and form that brings to mind, for David Barro, comparisons to Pasolini’s shifting camera angle also evokes David Hume's observation that we have no consistent, unbroken observation of the world. Our perceptual orifices provide an interrupted and inconsistent stream of information from which our perceptions of continuity are reconstructed. In raycaster, the unseen “ray” posits a playful means of bridging the phenomenological gap. I invite the performer and listener to engage in a willful act of self-deception, accepting the possibility of alternate self-realizations through microphones that serve as both substrate and perceptual prosthesis, through speakers that act both to reproduce and to actuate, and through a kind of autogenesis of physical material and monolithic noise into which we can project an alien embodiment.

Image credit: Paolo Monti, Servizio fotografico : Milano, 1970 https://commons.wikimedia.org/wiki/File:Paolo_Monti_-_Servizio_fotografico_-_BEIC_6346554.jpg

raycaster

both sides of dunst ping the mmf-1 in dual bandpass mode. dunst "clocks" stepped side of r*s ssg for pitch cv and delay modulation. 
dunst modulates itself. d0 delay with feedback path through doepfer spring reverb.

dunst pings

From the forthcoming album on Noir Age, I Can Only Imagine

Night Foundation - Alma Road

Keith Fullerton Whitman in conversation with Create Digital Music's Peter Kirn at CTM Festival, Berlin, January 2013. Part of the MusicMakers Hacklab curated by CDM. The electronic musician and composer talks about his process with modulars, and what it means to use these boutique instruments.

Keith Fullerton Whitman: A Conversation at MusicMakers Hacklab

New split 12' between two modular experimentalists stretching the world map for this split release.
While Keith Fullerton Whitman comes with one of his more accessible / danceable piece to date, Floris Vanhoof had full reign to record a dark and hazy drone piece for the flipside. Using purely analog synths, both build very unique although complementary compositions. 

Keith Fullerton Whitman - you already know him - is an American electronic musician who has recorded albums influenced by many genres, including ambient music, drone, electronic, drill and bass, musique concrète and krautrock. 
Making music since the 90', he started recording using his own name in 2001, and most of his work recorded today is under that name. He studied computer music at Berklee College of Music, where he was exposed to modern electronic music composition and synthesis. Whitman has released albums on many labels such as Edition Mego, PAN, Kranky, Root Strata, Planet Mu. 

Connecting his many worlds, ideas and influences into highly personal pieces, everything Floris Vanhoof put his hands on turned into a highlight. Not only his solo LPs on Ultra Eczema and Kraak, but also an extensive list of stunning performances. 
In his live shows Vanhoof links new visual ideas to his idiosyncratic musical performances in which homemade synthesizers, exceptional ebay acquisitions and a personal framework are forged into an impressive whole. One of the most versatile and creatively liberated artists in Belgium!

This record has been mastered and cut by Rashad Becker at Dubplates & Mastering in Berlin. Pressed on 180g black vinyl and packaged in a 3 colors silkscreened cover printed by Hannah Geise. Edition of 400 copies.

—

http://shelter-press.com/main/category/017/

Keith Fullerton Whitman "Automatic Drums with Melody"

I'm a sound artist and programmer based in Brooklyn, New York.

raycaster

Roosendaal

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