Played in the Aufsturzbar in Orangienburg Str. Berlin using Wavemapper.

Dynamo

Transitions, transitions, and more transitions.

Inner State

I haven't been round Soundcloud for a while (been busy with my other passion - amateur dramatics). This tune was played in the awesome Thor and WaveMapper apps. The Zuse Z2 refers to the Zuse 2 computer from the 1930s.

http://en.wikipedia.org/wiki/Z2_%28computer%29

Zuse Z2

Here is a brief love story about IMPC who meets and falls in love with Siri. Siri and IMPC are happy for a while, but then Siri meets Nave and she is torn between the two of them. She chooses Nave and which leaves IMPC left on his lonesome...

For those interested I have panned some of the voices along to the storyline

Vocoder Love Triangle

PPG WaveMapper is the second next-generation iOS based synth from Wolfgang Palm.

This piece was created by Bjoern. It shows the complex sounds possible with this new and exciting iOS synth.

Nonlinear Space Movement

PPG WaveMapper demo created by Boele Gerkes.

Relaxing Twist

Snow Storm

Slightly ambivalent about this one - it's another drunken in-flight-no-sleep track. I think the sound of this (and the previous track) has a lot to do with the massive amount of background noise and no noise-cancelling earphones, bit of a wall of sound... anyway. here it is. 

Fawm9 Paradox

Played and recorded in the Ipad app PPG Wvemapper - lots more furious knob and icon twiddling - wish I had three hands! Loaded up into Auria for some mixing.

Osmosis II

This was.played/recorded on the same day ad Osmosis IV (and to be pedantic was done before Osmosis IV). Once again palyed in PPG Wavenaper and processed in Auria. One thing to note is that I have been experiencing temporary hearing loss for the lastbweek and I can,t really hearvwhat Osmosis IV And V sound like  :(

Osmosis V

Modeller, Magician, Musician, Mixer and Masterer

I work a dayjob in the finance industry making up numbers so my primary recording studio is split between the bus or a comfy lounge using my ipad. 



The Oxford Ambient Collective (OAC) is the solo musical alter-ego of David Smith, an artist who began his compositional journey in his early thirties using software such as Buzz, FL Studio and Reason. He has a  focus on a aesthetic of crafting immersive "ambient drones and ethereal soundscapes." Intentionally grounding his work in the history of the genre, Smith’s creative output reveals a clear artistic lineage, with albums like Berlin Vol. III acknowledging the "subtle German EM influences" and paying thematic homage to the pioneering Berlin School of electronic music. While deeply reverent to this historical lineage, Smith's methodology is aggressively contemporary, positioning him at the vanguard of mobile sound design by relying on a sophisticated suite of iOS applications to perform complex sonic morphing and generate his signature textures; his advanced workflow employs Soundscaper as an "experimental sound mini lab" for textural manipulation, with all audio professionally routed through the AUM mixer and hosting application. This innovative approach powered his self-proclaimed "proudest achievement"—a 90-minute live performance at Oxford's prestigious Ashmolean Museum, an opportunity secured through his affiliation with Oxford Brookes University as part of its 150th Anniversary celebrations. To solve the inherent challenge of engaging an audience with long-form ambient music, Smith transformed the event into an immersive audio-visual installation, pairing his soundscapes with curated visuals from sources like The Internet Archive to command "active listening." The project's visibility expanded significantly beyond this institutional context through a pivotal relationship with the independent Focussed Silence label, which was instrumental in securing national airplay on BBC 6 Music. This success highlights a versatile appeal, with OAC's work finding a home on highly experimental programs like A Duck in a Tree on Resonance FM—hosted by the influential group :zoviet * france:—as well as on sophisticated global platforms where his work was programmed alongside compositions by genre progenitors like Brian Eno and Vangelis. While OAC remains a solo endeavor at its core, Smith actively engages in digital collaboration with a network of sound artists like Encym via platforms such as SoundCloud, effectively transforming the solo project into a decentralized creative hub, thereby giving true meaning to the "Collective" in his moniker.

Just a good looking dude with a shit tonne of cash making dope tracks for the fuck of it

The good folks at Vaatican Records have published another release of mine, "Persimmon Trees and Comic Books". Check it out here: http://gestrococlub.org/SCOXROX2.htm

"Stump Speech" is still available as well: http://gestrococlub.org/SCOXROX1.htm

I was recently featured on the Studio d'essai program on Brisbane's Global Digital radio broadcast: https://studio-dessai.github.io/2017/11/02/sdecv/

I was thrilled to be invited by S♨ciété Cantine to participate in an international collaboration with some of the finest experimental musicians on Soundcloud: 
https://soundcloud.com/societecantine/theyve-found-a-flying-saucer-in-my-stomach-an-international-exquisite-corpse

Be sure to check out "Star Stuff",  an hour long mix of my more quiet and contemplative tidbits culled from years of messing about with bits.

I have some older sets on Mixcloud: https://www.mixcloud.com/scoxrox/ The first one, "Bumper of Life" is particularly special to me.

Steve Cox is a Hudson, Ohio based information technology professional who has been obsessed with music for his entire life. Though he quit formal music education in the 6th grade, he began banging on pianos and recording crude tracks using 2 Panasonic portable cassette recorders and overdubbing in the early 80s. In the 90's, he recorded a bunch of original MIDI compositions consisting of sequenced loops and live improvisations. The album, called "Steve Cox Vol. 1", is so legendary and underground that it cannot be found anywhere. Steve himself probably doesn't even know where it is. Starting in 2009, it became apparent to Steve that people were charging pennies for iOS Apps that provided more power and functionality than thousands of dollars in electronic gear did only a few years ago. A new creative burst ensued, and Steve reinvented himself as an iOS musician.

Steve calls himself a "recovering jazz snob". Indeed, until the mid 2000s, you probably couldn't talk to him about music unless you knew who Don Pullen or Phineas Newborn, Jr. were. A few years ago he discovered the music of Steven Ellison (aka Flying Lotus), and came to an epiphany that good music had in fact been made after 1972, lots of it even.

Steve cites the following influences:


Louis Armstrong, Duke Ellington, Harry Belafonte, Charles Mingus, Wendy Carlos, Joni Mitchell, Joe Zawinul, The Eagles, Henry Threadgill, Peter Brötzmann, John Coltrane, Albert Ayler, Ken Vandermark, Prince, Miles Davis, Don Pullen, John Zorn, Paulo Moura, Pixinguinha, Pachora, Marc Ribot, The Boredoms, Yes, Otomo Yoshihide, Merzbow, The Beach Boys, Liberation Music Orchestra, Orchestra Baobab, Aether (aka Diego Chavez), Art Ensemble of Chicago, John Cage, Rahsaan Roland Kirk, Flying Lotus, Flying Luttenbachers, Public Enemy, Ametsub, Pat Metheny Group, Daedelus, Olivier Messiaen, Steve Reich, Sigur Rós, Hermeto Pascoal, DJ Shadow, Yamantaka Eye, Autechre, Sergio Mendes, Burial, Evan Parker Electro-Acoustic Ensemble, Galt MacDermot, J Dilla, Lester Bowie, Beirut, Art Blakey, Clifford Brown, Arvo Pärt, Mahavishnu Orchestra, Krzysztof Penderecki, Herbie Hancock, Bill Frisell, Himuro Yoshiteru, Art Tatum, Hudson Mohawke, Last Exit, Marco Benevento, Pere Ubu, Nosaj Thing, Prefuse 73, Rovo, Sonic Youth, Zs, Jim O'Rourke, Gang Gang Dance, Tim Berne, Madlib, Four Tet, Dimlite, Count Basie, OOIOO, Muhal Richard Abrams, Weather Report, Derek Bailey, Merle Haggard, Edgard Varèse, Sidney Bechet, Steve Lacy, Sun Ra, Jim Brickman, Buckethead, and Parliament

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