Phonogramme à l'encre de chine, dessiné en avril 1993, et interprété en 2023, avec les mêmes synthétiseurs Yamaha TX816 (un couple).
À la mémoire de Giuseppe G. Englert, avec qui j'ai passé des années dans la salle A102 du laboratoire du GAIV, à programmer et composer, composer et programmer.

Phonogrammes G3

Chine Midi

Troisième volet à l'encre de chine. 
Textures / Tessiture

Chine Crépuscule

An experiment, of transposing
Johann Sebastian Bach's Fantasias, Toccatas And Fugues,
to a pentatonic mode of Japanese classical music.

Performed on the Oberheim OB-EZ 8 Voice synthesiser,
a gift from GForce Software.

Toccata No 7 In G Major Pentatonic Japanese

Toccata No 6 In G Minor Pentatonic Japanese

Toccata No 5 In E  Minor Pentatonic Japanese

Toccata No 4 In D Minor Pentatonic Japanese

Toccata No 3 In D Minor Pentatonic Japanese

Toccata No 3 In D Major Pentatonic Japanese

Toccata No 2 In C Minor Pentatonic Japanese

Toccata No 1 In F Sharp Minor Pentatonic Japanese

Fantasia And Fugue 2 In C Minor Pentatonic Japanese

Fantasia And Fugue 1 In C Minor Pentatonic Japanese

Chromatic Fantasy Fugue  In C Minor Pentatonic Japanese

A stochastic experiment with
the ARP Odyssey and Axxe synthesisers.

Space Feeling Distant

a motorola duet

Feature-Reel here: www.instagram.com/reel/C9GOZJ_ABse/

There is a certain beauty in additive synthesis. I can compute it with my early-8-Bit-Synthesizer, powered by an 68000 Motorola.

Working from zero frequency, there is an early starting point, when the algorithm takes over the numbers, the frequencies and delivers a sonic representation of their calculations. 

To us, there seems to be life in this. Especially, when imagining, that this only sound, could be calculated one time.

So, I did the same as the Fairlight and took the first approach of my improvised playing. I reduced the takes to only 1 – no retakes, no overdubs, no midi.

A kind of a duet concerning both singular attempts and open outcomes.

Due to computing times of about 5 seconds in between the – nearly not hearable – changes of sound, I had to place 2 little cuts.

Why compute? Maybe because it opens an untold gate to a special resonance and understanding a little about ourselves.

+++
More on the 651st weekly Disquiet Junto project, Why Compute? — The Assignment: Respond to a prompt from George E. Lewis — at Disquiet Junto Project 0651: Why Compute? – Disquiet

a motorola impromptu (disquiet0651)

Two Poly Grid with additive synthesis, using voice spread to create harmonics (sounds quite big). One HALion 7 felt piano. One sampled Lute in Kontakt. One Poly Grid mimicking a lute using additive synthesis. Some Reverb.

121724 #1 Additive

A stochastic experiment with
four ARP 2600 synthesisers, 
and four ARP 1601 sequencers.

Intro Vision

It's fun to just rock out again. That's what Release was all about- Pulling out the guitars and lighting it up. Defiance in the face of obstinance is what it all boils down to, and keeping up the dream when it's not what it seem.

Release

The Sunset at the end of the world Beg Ar Raz - Pointe du Raz - Lighthouse Faro Storm Ouessant ENEZ EUSSA

I'm an French Musician creating for visual media.
The land of my ancestors is "USHANT (Ouessant)"
I live in Brittany near the "Pointe du Raz".

All compositions - © John USHANT de KELLER

🎶 G.W. Childs is a musician, producer, and sound designer blending country, rock, and synth-pop — think The Eagles meets The Weeknd. He’s released music with COP International and Cleopatra Records, collaborated with John Fryer and Tina Root (Switchblade Symphony), and contributed creative work at Lucasfilm. As a sound designer for Propellerhead’s Reason, he helped shape one of the most iconic music tools of its era.
Pulling from influences like the BeeGees, ABBA, Marvin Gaye and Smokey Robbins and mixing with Depeche Mode and Kraftwerk. Every music listener will find something new and familiar in timeless tracks that deliver big hooks and crafty melodies. 

As a sound designer for major developers like LucasArts, Lucasfilm, Propellerheads, Cakewalk, MTV, US Army and more. Childs explores a wide list of topics from a veterans perspective.

Compositeur membre de la SACEM, flûtiste et aquarelliste, informaticien depuis 1977, diplômé de l’École supérieure des Arts appliqués Duperré, Docteur en Intelligence Artificielle et Journaliste reporter Photographe, Vincent Lesbros utilise le logiciel Cyclonium qu’il développe pour composer et produire ses musiques avec la liberté de ses coups de pinceau et la rigueur de ses algorithmes.

Contact : lesbros@cyclonium.com

Жаба любить тебе, 
Кальмар любить тебе, 
Жаба любить мене, 
Кальмар любить мене,  
Жаба, я тебе люблю, 
Кальмар, я тебе люблю.

Anyone proposing 
to work with me 
as a promoter, or other, 
needs to be fluent in :

Ukrainian, Polish, Russian, 
Egyptian Arabic, French, 
German, Korean, 
Japanese, and Chinese. 

https://ayamikhan.link/

New tracks tagged #additivesynthesis