Ambient Selection

Release info: ghostly.com/releases/hinterland

Recondite - Abscondence

Demo for Alchemy patch "ViolaVox Hurdy Gurdy Drones Split"from the sound library MetaVox for Alchemy available on patchpool.de - featuring the viola playing and overtone singing of Gareth Lubbe

MetaVox for Alchemy

ViolaVox Hurdy Gurdy Drones Split - Alchemy Demo MetaVox

Minimalist piece I did using MetaSynth's Image Synth room.

MetaSynth Sound Piece "Pentatonic Minimalism"

First track from my album Trip to Russia available on Bandcamp

Trip to Russia

Trip to Russia - The Journey Begins

Demo for MachFive 3 patch "Combed Tubulars" from the sound library "Scattered Entity Vol. 1" - granulated tubular chime samples through tuned Combfilters in MachFive 3 - Midi automation of drive, chorus and phasing, fast random combfilter modulation via Modwheel

Scattered Entity

Combed Tubulars - MachFive 3 Scattered Entity

Sonic Cinema

Mrs Lushness - HALion 5

Release info: http://ghostly.com/releases/loyal-reworks

Heathered Pearls - Beach Shelter (Sun Glitters Remix)

A little brass-space etude in the morning...

Morning Chord

Demo for Iris patch "Autumn Chimes" from the patchpool subscription series - set no. 33

Iris Subscription

Autumn Chimes - Iris Demo patchpool subscription

Demo for the MachFive patch "Peace Pad" from the sound library Scattered Entity Vol. 1 available on patchpool.de

Peace Pad - Demo Scattered Entity for MachFive 3

FX Mix

UberMod Slurper Vox

More explorations using Alchemy with MetaVox, and Chromaphone with Modelled Reality sounds from Patchpool/ Simon Stockhausen, mixed and arranged/composed by Wade Mattson using Numerology4 Pro beta 

FocusUnTamed

Trash

Csound work from the fall of 1998. Otis was some big dumb dog that ran up to my wife and me in front of A Taste of India in the U district. Apparently he had ran away from the people watching him. The computer music course I was taking had lots of grad students naming their compositions 3 lower case words, like "still, further, quiet." So the full name of otis is "otis (comes running, stinking)."

The synthesis techniques were homecooked granular (at the beginning, which is a few tens of thousand of note events of little sine waves), FM, additive, and my own additive technique which modulates each partial with bandlimited noise.

otis

A Csound composition, based around manipulations of William S. Burroughs saying "Apocalypse"

line

“The Living Ocean” is a piece inspired by Stanislaw Lem’s “Solaris”. I was struck by the humans encounters with the living ocean on the planet, their fascination and draw into it, and their utlimate inability to rationalize and understand it. Their experiences often left them with more questions than answers, not only about the living ocean, but also themselves and the nature of their own existence.

For me, the story of “Solaris” holds many parallels to the experience of art that I search for when composing. Listening: drawn in, fascinated, the rational mind at rest, only an irrational experience is left. Afterwards: awe, questions about the work, questions for myself, curiosity.

For more information and project files, please visit the entry for this piece at my personal page at: http://www.kunstmusik.com/2012/05/14/the-living-ocean/

The living ocean

Csound work from 1999. Massive granular timestretching of acoustic guitar, processed by a choir simulator that used string ensemble chorusing and parallel bandpass filters. I might have had a feedback delay network reverb in there. I forget. It was a long time ago.

Choirstretch

Upside Down Umbrella "Fantastic and Tangible"

I got an email from a friend asking me about Solfeggio Frequencies so I threw the pitches in to Csound and was diggin what I heard. so took it a step further.

Reading up on the Solfeggio frequencies (from Wikipedia page - search it) I noticed that an important part is how they reduced (numerology). This seemed like an obvious place to work with in the form. The different frequencies all play out their "reduced" numbers literally in length and timing, with the longer tones (dividsion of the max volume) and softer and the shortest louder (1=loudest). Similar idea to Cages "58" or many of Morton Feldman's compositions. I really like when these pieces take on their own individual evolution through time and combine to create surprising harmonies (or dissonances) whether you planned it or not. 

I'm always curious about the significance of these more "mystical" numbers and how they relate to sound and composition. This one practically wrote itself. 


Solfeggio Sine Waves - Reduced Number Form

Ikeda fractal music guitar part, created with common music 2, and my fract.cm. This is old, made in 1998. The midi from cm was converted to guitar on linux with timdity. The sounds in the background are from csound. The midi came out from fract.cm just as it is, only the final part of the midi was cut out to leave the final note. (It's a loong time,  but this is what I recall, to get the coeffs for ikeda right, took many, many iterations). Part2 and 3 are more crap than this.

Ambient Selection

Synsei