and now the drums themselves are added (click is from me unmuting the drum track)

just dry sound from Shapeshifter at this point

Soo cool.  I need to get an external input...

Delay here is the Shapeshifter itself, no additional processing until ~2:47 where I add external delay

First set of demo sounds for the Intellijel / Cylonix  Shapeshifter - a complex dual wavetable VCO

Intellijel-Cylonix Shapehifter - demo set 1

Shapeshifter sequenced by Intellijel Metropolis. OSC2 is in LFO mode so that delay times are long. Percussive mode is active.  Delay time, depth/FB and decay time of percussive envelope are manipulated.

Delay Seq

Sequence starts in monophonic mode (ePiano wavteable).  CHORD mode is then turned on and then detuning is applied.  Wavetable is then manually swept.

Chord Seq 1

Shapeshifter in CHORD mode using a granular wavetable with detune at 20. Wavetable is being morphed by a Dixie in LFO mode.

Grain Chord Drone

Preset Mode Active - morphing between panel settings and a preset.

Morph1

Preset Mode Active - using Seq mode to step through 8 different presets in a forward direction. An Intellijel Dixie is used as the trigger source which starts out at audio rate and the frequency is swept down to a lower rate. Pitch of the sequence was manually swept.

Preset Sequence

a little demo showing processing drums through Cylonix/Intellijel Shapeshifter module

drums are from MachineDrum
Shapeshifter in vocoder/chord modes, some modulation added from ADDAC Filterbank envelope followers
additionally playing with morph control
the pitch input on Shapeshifter is not used, all pitch changes are from modulation / morphing

first part is dry signal directly from Shapeshifter with no additional processing, then I add analog BBD delay at around 2:47 and the MachineDrum track at the end

drum processing through shapeshifter [modular demo]

The work is in two movements - Fraying and Prolonged. The first presents a sonic object that gradually disintegrates. The second reframes this object and slows it down, so that the process of decay is frozen, and the object appears almost immortal. The work grew out of reflections on 1 Corinthians 15 and Jiang Zhi's Love Letters (2014). In Jiang Zhi's photographs, flowers are on fire, but are not harmed by the flames.

Alto Flute - Isobel Doughty
Oboe - Caitlin Heathcote
Clarinet in B flat 1 - Heather Ryall
Clarinet in B flat 2 - Julia Raga Pascual
Horn in F - Karen Starkman
Trumpet in B flat 1 - Catherine Pollit
Trumpet in B flat 2 - Thomas Thornton
Tenor trombone 1 - Samuel Dye
Tenor trombone 2 - Jake Jones
Harp - Teresa Raff
Piano - Ábel Misha Gille Esbenshade
Violin 1 - Kanon Miyashita, Tilman Fleig, Yuriko Matsuda, Zora Orfgen
Violin 2 - Camille Saïd, Anastasia Egorova Wise, Zoe Hodi
Viola - Michaela Bartošová, Jeremy Tonelli-Sippel
Violoncello - Lucy Neil, Pieter-Jan De Smet
Double bass - Jess Martin, Cole Morrison
Conductor - James Hoyle

Recorded in October 2018.

Reframe (2017)

Sadly due to a computer error it was not possible to finish production on this track. This is the last mixdown I managed to do before the error.

Incomplete

Lost

unity.projections[001=>2]  - for accordion and cello (2020)
/live recording/

Branko Džinović (accordion)
Aleksandar Latković (cello)

Belgrade Philharmonic Orchestra Hall
10 March 2020

unity.projections[001=>2]  - for accordion and cello (2020)

This is the world premiere of the new work for double-bell horn, developed during the Virtual Brass Academy with Christine Chapman and Ensemble MusikFabrik, July 2020. This performance took place on July 30th, 2020 - in Cologne.
I am indebted to Ensemble MusikFabrik and the fantastic work they did with us in introducing us to the worlds of double-bell instruments, and to the ever-expanding repertoire of new music for these instruments they are bringing to the world.

The work explores a sense of dual forces that act and react upon each other, and how the relative mediator (the performer) indeed interacts with the score, the instrument and it's two bells, and finally how the theatre of the piece - both through actions and the position of the instrument - is transmitted to the audience. In the four sections of the piece that each explore a different facet of the manipulation of the horn - first through the use of a contra-bassoon reed to produce aggressive yet fulfilling multiphonics; then in the second and third exploring the two bells and their range of possibilities. The final section condenses the instrument down to only it's single-bell form and the mute and interacts briefly with it to express a settling within the performance. Gasping, grunting, growling and grandeur are all some of the ideas explored in this short miniature.

Image: LIGO/Caltech/MIT/Sonoma State (https://www.vox.com/science-and-health/2017/6/1/15721268/gravitational-waves-ligo-future)

Understated Matter - for solo double-bell horn [premiere]

An improvisation made in my studio in April 2020 on the modular synth. It is largely based on ethnographic cylinder recordings from the Kodaly archive, made in April 1914. These small fragments are sampled with oscillators controlling the grain, loop size and time points of the samples. Pitch and envelope followers on the samples in turn control these oscillators and other physically modelled sounds. Yannis Kyriakides, Amsterdam, April 2020.

A Ghost Of Spring

Solo violin
Solo cello
Field recordings (treated)
delays and reverbs

Music inspired by this sentence by  Ursula K. Le Guin: 

“For a word to be spoken, there must be silence. Before, and after.” 

Created by DD in Greece on Friday 21st August 2020

for this junto challenge:
Disquiet Junto Project 0451: Ursula’s Silences
The Assignment: Make music inspired by a line from A Wizard of Earthsea .

Photo by DD, Kamari, Greece, Aug 2020.

@disquiet

Surrounding Silences (disquiet0451 )

Cath & Phil Tyler play Anglo-American folk music using guitar, banjo, voice and fiddle. Coming together musically through a shared love of traditional narrative song, full voiced sacred harp singing and sparse mountain banjo, they have performed on stages as diverse as the Royal Opera House in London and a dank tower in the old city walls of Newcastle. 

For this release they've kindly shared with us 5 new works written & recorded in the heat of the summer 2020 lock-down, taking in traditional tunes, workers songs and laments crafted with words from the past and present. The stripped-back selection offers an intimate portrait of the duo alone at home in the North of England, singing ghostly tales that echo from their bedroom through the empty pubs, folk clubs and spaces where people come together to listen, meet, drink and dance. A selection that pulls at the heart strings and offers some much needed respite in these trying times.

TR075 - Cath & Phil Tyler - 'Old Churchyard'

Jaka Berger - prepared drums
Marina Džukljev - piano
Samo Šalamon - acoustic guitars

Music by Berger, Džukljev and Šalamon
Themes by Jaka Berger

Released at FMR records (UK) in 2019.

Physical copy avaliable:
marinakeys@gmail.com
or
www.fmr-records.com

released May 3, 2019

Recorded by Jure Gruden
Mixed and mastered by Jure Gruden and Jaka Berger
Recorded in Dejan Berden studio in 2018
Artwork by Brgs

https://marinadzukljev.bandcamp.com/album/fresh-dust-trio-hilarious-experts

Fresh Dust Trio - Coal Trains

https://vaaticanrecords.bandcamp.com/album/poussi-re-midi

Poussière midi

Amorn

Intellijel Designs Inc. is a Canadian company that designs and manufactures electronic music devices and specializes in Eurorack format modular synthesis.


i write music and code that writes music. all tracks with a very few exceptions are under CC license and downloadable, so remixes / overdubs / collaborations are always encouraged.

drum processing through shapeshifter [modular demo]

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