For the occasion, I had set up my music studio in the tiny house. Through the large round porthole, I could observe the raging Ciaran storm. Perhaps the tranquility of the piece does not mirror the violent wind and the rain drumming on the window, but the calm and isolation in this small space is, in my opinion, conducive to inspiration.

°° Patch notes, recorded on the 11/01/2023 on Oléron island, France

° Gibson SG guitar into Instruo Lubadh on 2 decks.
° Guitar recording into FX aid long trail reverb 
° Hector occasionally into beads and QU-bit Data Bender
° My voice into Arbhar granular synthesis module from Instruo (V2)
° Arbhar into FX aid delay/reverb
° OP-1 arpegios recorded into Poly Hector Loopler and processed by Mimeophon.

Arbhar is played manually during the performance. Recorded in one shot.

Ciaran

Monsoon of mercury - 0tumn
2023

another drop of water in the ocean. A noise among chaos. insignificance in the cosmos. the vertigo that life offers is as delectable as it is alienating.
Carpe diem, my friends!

2023

Monsoon of mercury

Luckily you were there - 0tumn
2023

I'm running out of deep, false catchphrases.
Carpe Diem, my friends!

Luckily you were there

v1: Metropolix sequence; arbhar into QPAS with Sealegs 
v2: Morphagene into Zagrzeb
v3: Spectraphon into Fumana
- Modulation from Planar2, Batumi, and Spectraphon
v4: Matrix 12 with Valhalla UberMod and SuperMassive

20231231 Everything Is On Hold Until Next Year

Saying GOOD-BYE to 2023. It's been a rough year for me, I do hope it's been better for you. Can't wait to see what 2024 will bring to the table ;)

Thanks for listening to my music in 2023. Peace.

The track illustration is supposed to represent the way Bloom, a fractal sequencer module is operating. I also used Mojave module from QU-Bit for the first time, I still can't tell exactly if I like it or not : it's pretty special and not so easy to use. Other instruments involved : Plaits, Ensemble oscillators, Arbhar, Hector, Fx AID as a reverb, Ripples, Hermod, Mimeophon, Data bender, Quad VCA.

Voice of my daughter recorded directly into Arbhar using the internal microphone.

"Dans ce rêve, je me perds,
 sous un ciel voilé de peine,
 Les étoiles pleurent doucement,
 la lune soupire en rengaine.

 Au fil des songes sombres,
 je cherche en vain l'allégresse,
 Mais chaque pas me rappelle la triste réalité,
 sans cesse.

Dans ce monde de brumes où la mélancolie règne en maître,
Mes larmes se mêlent à la pluie, écho de mon être."

°°° Patch notes : recorded on the 6th of February 2024, France

° Voice & singing recording with sE7 microphone and external analog mixer
° Voice recording into Lubadh, pitched down
° Voice recording live into Tapographic delay (4ms)
° Synth bass voice from Beads, sequenced by OXI one
° Synth bass voice into Mojave
° Synth pad voice from Plaits, sequenced by OXI one
° Singing recorded into Arbhar, 3 layers
° Reverb from FX aid on the singing
° Arbhar modulated by Marbles LFO (scan parameter)
° First time mixing and recording with 1010Music Bluebox eurorack version

In my dream

More on the 666th weekly Disquiet Junto project, Beauty and the Beast — The Assignment: We’ve hit a devilish numerical milestone. Do your thing. — at https://disquiet.com/0666/

Clearing Evil (disquiet0666)

More on the 667th weekly Disquiet Junto project, Neighbor of the Beast — The Assignment: What’s it sound like when the devil lives across the street? — at https://disquiet.com/0667/

night neighbor (disquiet0667)

autumn wind...
I am stringing
a plain-wood bow

Haiku by: Mukai Kyorai

This haiku poem is part of the Naviar haiku music challenge, where artists are invited to make music in response to a weekly assigned haiku poem. https://www.naviarrecords.com/haiku-music-challenge/

@naviar-records

notes of autumn (naviarhaiku563)

Those teeth can bite - 0tumn
2024

Carpe diem, people!

Those teeth can bite

Straw roof - Otumn
2024

Carpe diem, people!

Straw roof

Composer and Sound Designer Robert Aiki Aubrey Lowe tells Caro C about his preferred sound modules and working methodologies, plus shares details some of the film and TV projects that he has recently been collaborating on.

Chapters
00:00 - Introduction
01:35 - Finding A Musical Voice
04:38 - Choosing Modular Synthesis
10:18 - Avant Garde Artistry
17:14 - Current Modular Setup
23:19 - Other Favourite Modules
28:11 - Composing For TV And Film
34:03 - Combining Hardware And Software

https://www.soundonsound.com/people/robert-aiki-aubrey-lowe-sos-podcast

#morphagene #spectraphon #dxg #optomix #proworkout #arbhar

Robert Aiki Aubrey Lowe Biog
Robert Aiki Aubrey Lowe is an artist, curator and composer based in Brooklyn, New York. Robert is known for his work with modular synthesis combined with voice. Along with analogue video synthesis works, he has had exhibitions of his work at John Michael Kohler Art Center, Museum of Art and Design, Kunsthal Charlottenborg and the Broad.

Over the last several years Robert has collaborated on projects or provided sound in a featured artist capacity for such films as “End of Summer”, “Sicario”, “Arrival”, “Last and First Men” with Johann Johannsson and “It Comes at Night” with Brian McOmber. In recent years Robert has scored “Candyman” for Nia DaCosta, “The Color of Care” and “Power” for Yance Ford, “Master” for Mariama Diallo, “Grasshopper Republic” for Daniel McCabe, docuseries “Telemarketers”, “UNION” for Brett Story and Stephen Maing, “The Man In My Basement” for Nadia Latif, “Life After" for Reid Davenport and “Seeds” for Brittany Shyne. Through collaboration Robert has worked with Tarek Atoui, Ben Russell, Ben Rivers, Rose Lazar, Nicolas Becker, Rashaad Newsome, Jóhann Jóhannsson, Hildur Guđnadóttir, Sabrina Ratté, Philippe Parreno, Evan Calder Williams, Ariel Kalma, Susie Ibarra and YoshimiO, as well as many others.

https://robertaikiaubreylowe.bandcamp.com/

Caro C Biog
Caro C is an artist, engineer and teacher specialising in electronic music. Her self-produced fourth album 'Electric Mountain' is out now. Described as a "one-woman electronic avalanche" (BBC), Caro started making music thanks to being laid up whilst living in a double decker bus and listening to the likes of Warp Records in the late 1990's. This 'sonic enchantress' (BBC Radio 3) has now played in most of the cultural hotspots of her current hometown of Manchester, UK. Caro is also the instigator and project manager of electronic music charity Delia Derbyshire Day.
URL: http://carocsound.com/
Twitter: @carocsound
Inst: @carocsound
FB: https://www.facebook.com/carocsound/

Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts

Electronic Music

Robert Aiki Aubrey Lowe

Robert Aiki Aubrey Lowe | Podcast

Modern-boring-world escape generator. Welcome.

<b>SOUND ON SOUND is the world's premier music recording technology magazine</b> - available in 5 formats: Paper, Web Sub, Replica, Full Issue PDF download or Tablet/Mobile apps. Based in Cambridge, England; independently-owned and continually published since 1985).&#13;
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I'm a lab-rat. gear-head. Composer of sonic explorations. Seeker of tone and frequency. Patcher of modules. Twiddler of knobs. Bender of strings. Programmer of sequences. Lover of all things that oscillate, resonate and reverberate.

My main instrument is a Eurorack Modular synthesizer comprised of approximately 70 modules. My favourites include modules from Frap Tools Instruō, Intellijel, and Xaoc Devices. I use a 16-channel Line converter from nw2s to get modular signals into my DAW.
My main polysynths are an UDO Super6 and a Sequential Prophet Rev2.
Production tools are Bitwig with an Ableton Push 2, with two Universal Audio and Focusrite AD converters; and plugins from GForce/Oberheim, Waldorf, UAD, Valhalla DSP, Plugin Alliance, Eventide, Softube, and Roland.
I also compose with electric guitars and basses, Toontrack Superior Drummer, and various Brazilian samba percussion.

New tracks tagged #Arbhar