Name: FMMMOPm by sunhil in Marc Weidenbaum
Duration: 1 min 47 s
Description: FM operations between OP-1 and Monomachine. OP-1 FM synth being sequenced and processed by Monomachine, accompanied by a pair of MM's FM-PAR machines.

Marc Weidenbaum

라일락 eunha cover

nemehlo

Snippet 3

I've wanted to get a white-noise module for awhile, and finally added one to my setup. This module has 7 different noise sources, including white, red, grey, and blue. Each is being triggered by a different sequence. They're all in sync, though one is slightly delayed, which lends a tiny bit of character to the cadence, I think. The only reason I skipped pink is because I don't have any pink cables right now, and the color-coded cables helped me keep track of things.

You can blame this on someone who's listened to too many Chain Reaction releases, too much Consolidated, and too many scores to Michael Mann films.

Slightly more technical information: The sequences are all in CV Toolkit (a piece of software running on my laptop), and they're getting to my modular synthesizer via an Expert Sleepers ES-3 module. The noise-source module is the Quantum Rainbow 2. The white, red, and grey sources are all receiving sequences directly from the software. The blue source is getting a slight trigger delay (and a slightly extended length to the trigger), thanks to the Doepfer A-162. The whole thing is being mixed in an ADDAC 802 VCA Quintet, and out through a Pittsburgh Outs, through a Focusrite Scarlett 2i4. It was recorded in Audacity. 

White Noise Beat

I was asked by the Dutch musician Michel Banabila to contribute a remix to Marilli Remixed, a collection of reworkings of tracks from his very first album, Marilli, released in 1983. I selected the fourth track on the first side of the LP.

The original was elegant, but had percussion throughout. I wanted the ambient quality more formalized, and the percussion a little more muted and arhythmic.

. . .  

Here are some notes on my remix. I’ll note in advance, they’re fairly technical, as a notebook entry on what went into this, and what I learned in the process.

I used the my modular synthesizer (mostly filters, and a little triggered live sampler), the software Audacity (to sequence it, and also for some effects), and my Monome (running the mlr patch in the software Max). 

First I stretched a relatively percussion-less segment of the original track to get an ambient bed, yielding in the end something about 30 seconds long. I set it to run eight times in a row, overlapping to varying degrees at each repeat. 

Then I extracted a small percussion loop from the original. I did a "live performance" of that percussion loop with the Monome (four simultaneous tracks: one straight through, two running tighter sub-loops against each other a little quieter, and one in reverse even quieter still, though it's also the last bit to fade out of that sequence, so it has a little moment in the sun). The loop ran a little slower than the original, and I used a small Novation Launch Control to manage the relative volume of the four tracks within mlr.

And then I used my modular synthesizer to create variations on the ambient bed, which I layered in at various stages. 

In the end I had eight tracks in Audacity:

The 1st and 3rd tracks are the eight sequential repeats of the ambient sound bed, each intersection overlapping to varying degrees.

The 2nd track is a filtered version of the ambient bed, which has a slow LFO on it (giving it a light Laurie Anderson–ish "ha ha ha" feel) and some echo. This was done on the modular using a filter (either the A-121 or the A-136 or the Z2040 — my notes are unclear — influenced by a digital LFO, the Hikari Sine, and then run through an Eko module).

The 4th is the "live performance" on the Monome of the percussion loop, running mlr. It has four tracks of the loop doing different things. I used a Novation Launch Control to balance the volume of those four tracks.

The 5th is a copy of the ambient sound bed, pitched lower for the full length of the loop. This gives it that deep vibe for the penultimate repeat of the ambient bed. In track 1 at that same stage the volume of the original ambient bed is a little quieter, to let the deep version sound even louder than it is, in relative terms. 

The 6th track is a copy of the ambient bed but pitched higher, and I just use it for a very short moment, a final peak before the track fades out. 

And the 7th and 8th are two different instances of the same tweak of the ambient bed, which I did in the modular using a Harvestman Polivoks. It's a tingling, slightly irritating sound, a momentary breach in the ambience.

The whole idea is it opens with this expanse, and then goes to something a little tribal, and then returns to the expanse. I'll be honest about my influences here. The ambient bed is striving toward Brian Eno's Thursday Afternoon, and the rhythmic part has Peter Gabriel's soundtrack to The Last Temptation of Christ in mind. The first appearance of the Polivoks "irritant" is then repeated toward the end to provide a sense of reflection on where the piece started, but in between is that percussion performance. The deep vibe in track 5 gives an orchestral sense of closure, and the peak in track 6 is little filigree, like the clouds breaking, before it all ends.

At least that's where I ended up. It wasn't where I started. When I started, it was all gonna be about this firecracker/rattle sound in the original, but in the end I went a totally different direction.

Free Album Download

"A4. Marilli Rmxd 14"

FM operations between OP-1 and Monomachine. OP-1 FM synth being sequenced and processed by Monomachine, accompanied by a pair of MM's FM-PAR machines.

FMMMOPm

disquiet 0245
Disquiet Junto Project 0245: Practical Music
Write a piece of music for getting things done, suitable for playing on repeat.

Clean up, routine, tiding up....that leads me to repetitive stuff.
I played a simple riff on my “diaz custom5”  drake bass guitar, very repetitive and yet variations going from A to D to D/E with no real structure.
Added a synth bass drone, and a Wurlitzer A200 electric piano improvising a bit.
Then some repetitive voices (tah-tah-tah-tah...) in four part harmony/
My usual rhythmic delays played a big role, here in 1/8th and 1/4th notes.
You can loop this, there’s no lead in or lead off.
Love
DD
Recorded in Paris, France September 9th  2016.

More on this 245th weekly Disquiet Junto project — “Write a piece of music for getting things done, suitable for playing on repeat” — at:

http://disquiet.com/0245/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

http://llllllll.co/t/disquiet-junto-project-0243-synth-trial/4288

There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.

Image associated with this project is by jurek d. and is used thanks to Flicker and a Creative Commons license:

http://flic.kr/p/npLwcU

clean it and loop it - disquiet0245

This is based on a Pure Data patch I made called "Oval Noise" because it reminded me of Markus Popp's ovalcommers-era sound. 

The patch is a mess since I just kind of threw it together with 3 oscillators playing one of four pitches randomly, with 2 of them summed up and the other being sent to another effect along with being summed with the other 2. 

Pure Data measures tempo by millisecond, so I started at 500 (i beat every half second), then divided it by 2, 4 and 6. The last little bit is divided by 8. 

Recorded into Audacity where I cropped it and fixed some clipping issues. 

||||

More on this 246th weekly Disquiet Junto project — “Compose a piece of music that increases speed in stages as it proceeds.” — at:

http://disquiet.com/0246/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

http://llllllll.co/t/double-quadruple-sextuple-music-disquiet-junto-project-0246/4549

There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.

Image associated with this project is by Oliver Gouldthorpe and is used thanks to Flicker and a Creative Commons license:

flic.kr/p/sMDxq

https://creativecommons.org/licenses/by-nc/2.0/

Latticeworks (disquiet0246)

From the cassette/digital album "Styles For Relaxation" on @newinformation, available for free download at https://newinformation.bandcamp.com/album/styles-for-relaxation

Styles For Relaxation

Download on Bandcamp

Cherushii - Cabo Blanco

Like just about every DJ at KALX, I’m still trying to process the events of the last few days. Being tasked with programming an hour of “experimental" music so soon after the Ghost Ship tragedy, I took the opportunity to poke around the nooks and crannies of the diverse and inspiring body of work left behind by those we’ve lost. As anyone even the least bit familiar with Oakland’s underground music scene knows, this community is essentially a bottomless well of expressive, enthusiastic experimentation. Hopefully the resulting hour of music does justice to that spirit. 

Note: I struggled nervously with the on-air mic breaks, so the mix is presented in its original form, not as broadcast.

https://soundcloud.com/cherushii
https://soundcloud.com/p_r_i_s_t
https://soundcloud.com/nacktmusic
https://soundcloud.com/charlieprowler
https://soundcloud.com/rmsmusick
https://soundcloud.com/obsidian-blade
https://soundcloud.com/ghostoflightning
https://soundcloud.com/paralycyst
https://soundcloud.com/themareus
https://soundcloud.com/gm_la-fever

Prist - Duct
Polar - We Mounted His Scaly Head on a Pole in the Front Yard
Nackt - No Pets No Masters
Charlie Prowler - Love Is
Prist - Unseen
Cherushii - Rudy’s Party [Bobby B’s Ambient Mix]
Ghost of Lightening - Aalto 3
Obsidian Blade - Live on KVRXNOR
Paralycyst - Third Image
Nackt - Familiarity SUC
Cherushii - Still Dreaming
RMS - Knots
Them Are Us Too - Fall

Originally broadcast 12/7/2016 on KALX 90.7 FM

Ghost Ship Tribute Mix for Information Overload

Submission for Ladyz in Noyz Compilation 2017 to protest the current political climate

Seasaim Faoi

Sound Patches for Elektron Analog Four
These Patches are FM drum and percussion sounds.

Including(245 sounds + 16kits/patterns)

245sound Patches(BD-16,  Clap-13, Clave-3, Cowbell-4, Cymbal-9, Ride- 1, Hihat-6, Tambourine-4, Percussion-152, Rim shot-3, Snare-14, Noise-2, Zap-1)
    
16kits,16Patterns

A4 FM Drum Patch Pack 01

💔love anatomy💔 Prod.christopher
 
 baby 떠나지마 
 baby 오늘이 마지막이 돼서는 안돼
 한 번만 봐줘 왜 이래
 널 사랑해 baby 
 너는 늘 내 곁에 함께여야만 돼  
    
 쉽지 않아 복잡한 과학 
 너와의 케미가 물과 기름 같아 
 우린 왜 이리도 다를까 
 다른 모양 다른 색깔들의 물감 
 어쩜 우린 정반대일지도몰라 
 너무나도 똑같다 믿었던 우리가
 하나라 믿었지만 결국은 둘인가 
 새파란 밤을 함께 보냈던 그때가
 그저 하룻밤 꿈이었을지도 
 
지지리도 난 궁상이고 
하루도 안 돼 멍때리고 
모르게 걸어가 너의 집 앞에 
말없이 대문을 두드려봐 
나와봐 할 말 있어 
너는 대답 없어 
그 침묵의 의미는 let it go 
should i really let it go 
  
숨 막혀 죽겠어 
너 없인 i cant breath i cant sleep i cant eat i cant do it no no 
숨 막혀 죽겠어 
너 없인 i cant breath i cant sleep i cant eat i cant do it no no 

 baby 떠나지 마 
 baby 오늘이 마지막이 돼서는 안돼
 한 번만 봐줘 왜 이래
 널 사랑해 baby 
 너는 늘 내 곁에 함께여야만 돼

JIMIN - love anatomy Prod. christopher

🎸T4SA🎸 queendom ver.👑 

Arranged by jinyeong Ko
Lyrics by christopher, jimin

God Jimin DIVA
Time 4 Sum Action!
 
It is Time 4 Sum Action
이건 아니지 Auction
뜸 들일 시간이 없어
앞선 사람들은 남겼지 발자취
근데 돈 냄새나는 악취 풍기는
몇몇 애들은 TV에 나와서 외치지
힙 합 충분한 기합
근데 소음뿐
모두 다 비슷한 랩 뱉어대는
벌레 벌레 벌레
고개를 끄덕거리지 못해 절레
절레 절레 절레
디스한답시고 말이 없어
입에 물어버린 걸레 걸레 걸레
유행인 듯 문화인 듯 분명치가 못해
날 때부터 힙합? 그래 너는 모태
Time 4 Sum Action
열량 0짜리 영양 빵점인 힙합
열려라 지갑 기분 나쁘게 배가 불러
근데도 여전한 식탐
You Rap Trap No Boom Bap
너는 미라 Wit No 붕대
죽어서 썩어 버린 지 오래
나는 장독대 속에 묵고 묵은 김치
어둠 속에서도 숨 쉬지
Yeah, 빛이 Check Ma 깊이
 
Time 4 Sum Act, Time 4 Sum Act
Time 4 Sum Action (Time 4 Sum Aksion)
Time 4 Sum Act, Time 4 Sum Act
Time 4 Sum Action (Time 4 Sum Aksion)

JIMIN - T4SA Prod. mcmeta

Sunhil Studios; In progress and other open materials relating to Eucci, aodl, and My TV Wife. Finest electronic and electroacoustic machinations since 1994.


FMMMOPm

sunhil

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