I moved on 1 April, and so I took the opportunity to rework my set up.  Throughout the month, I would try different set up, recording straight to tape.  I didn't think about it at all, just recorded until the tape side was full.  I had ten sides (5 tapes in all).  On 30 April I produced this track by mixing, dubbing, and effecting the various tapes I'd recorded throughout the month. 

3 tape decks, mc-303, mic and objects, flute, melodica, organ, guitar, memory man, chorus, fuzz, echo, looper, etc

As usual, headphones recommended

Freedom & Command

listen to a live duet sound-scape presented on CKUT radio on Dec. 30, 2015, a collaboration between Joseph Sannicandro on synth / electronics and Stefan Christoff on acoustic guitar. 

these recordings include sounds from transport zones across the world, including Minneapolis, Montreal, Vancouver, Mexico City, Rome, NYC and beyond. also sounds from a New Jersey printing press factory where Joseph's father worked for decades. listen to these sonic meditations on work, time, transport and the beyond.



joseph sannicandro + stefan christoff live on radio ckut

listen to an exchange with sound artist / musician esther bourdages speaking on Les voix de la solidarités - a sound installation / performance being presented at suoni per il popolo 2016.

this piece is being presented as part of a larger project entitled "as serious as your life : sound, control, and resistance" info / context below : howlarts.net/serious

(accompanying photo by Marco Simonsen-Sereda taken at a night protest during the quebec student uprising in 2012. 

As Serious As Your Life is an innovative curatorial project undertaken by Suoni Per Il Popolo and the Howl! Arts Collective. It takes the form of 3 performance installations, two that will debut at the 2016 Suoni Festival and one that will be presented in fall 2016. Each work explores the use of sound and sound technology as means by which individuals and groups are subdued and controlled. More broadly, it interrogates sound and sound technology as tools of state repression.

Sérieux comme la vie est un projet commissarial innovateur entrepris par Suoni Per Il Popolo et le collectif d’artistes Howl!. L’initiative consistera en trois installations performatives dont deux feront leur début à l’édition 2016 du festival Suoni. Chacune de ces œuvres se voudra alors d’explorer l’usage du son et de la technologie sonore comme moyens par lesquels les individus et les groupes sont subjugués et contrôlés. De manière plus générale, il s’agira de remettre en question le son ainsi que la technologie qu’il implique et de les réfléchir en leur qualité d’outils de répression mobilisés par l’État.

esther bourdages on Les voix de la solidarités @ suoni per il popolo

A deep listening mission to isolate and really appreciate the relief of the repeated phrase ...

more halF unusuaL

halF hiddeN

listen to a live session of shalabi effect on ckut radio recorded in 2000, featuring sam shalabi, alexandre st-onge, will eizlini & anthony seck. this broadcast took place in the months after the release of the first shalabi effect full album on alien8 records.

this in-studio performance on the ckut new music program "new shit" this program was produced & hosted by steve guimond & stefan christoff. uploading it here, found recently. thanks for listening !

shalabi effect live on ckut radio in 2000

as it wilts

more @ http://mitaminelab.org
https://soundcloud.com/marie_e_le_rose

miaminelab.org

INFO

ML270: Marie Rose

a music mix for Charley Stimac, put together in the days after Charley's passing on New Year's Day 2018, this mix features some loved songs by Charley & also songs that we listened together a lot over the last year, thank you for listening, love & solidarity. -- stefan spirodon.

tracy chapman - across the lines
john lee hooker - dirty ground hog
the jimi hendrix experience - all along the watchtower 
sunny ade - ja funmi
buena vista social club - candela
umm kulthum - enta omri
sam shalabi - oud solo
miles davis - générique
john coltrane - wise one
alice coltrane - turiya and ramakrishna

music mix for Charley Stimac — 2018

80 channel installation remix of Ending II by Tobias Reber

binaural documentary recording - best enjoyed on headphones.

Tobias Reber - concept & source material
Moritz Tobler - remix & realisation
Till Eiholzer - remix & realisation

Video:
https://www.youtube.com/watch?v=VUhAS_WqEjo

Documentations:
http://www.tobiasreber.com/cms/works/ending-ii-remix
https://moritztobler.ch/ending2

Commissioned by Pakt Bern for "flash (back and forward)" on December 8, 2017. With kind support by Merging Technologies and Hochschule der Künste Bern (HKB) - Sound Arts

Ending II Remix (binaural documentary recording)

was thinking about some of the translations of rauschen: hiss, sweep, murmur, and sough (a word i was unfamilar with)

i had 4 instances of loom 2 running, just played something while the spectal noise level increased throughout

.
.
Disquiet Junto Project 0398: Rauschen Bern The Assignment: Make music by making a collage of noises.

This project is the first of three that are being done in collaboration with Musikfestival Bern, which will be held in Switzerland from September 11 through 15. For this reason, a German translation is provided below. We are working with Tobias Reber, an early Junto participant, who is in charge of the educational activities of the festival. Select recordings resulting from these three Disquiet Junto projects will be played publicly as part of the Rauschlabor Schützenmatte (musikfestivalbern.ch) or broadcast on the festival’s radio show, Radio Antenne (radioantenne.ch). If you don’t want your recording to be used in this way, please note so wherever you post it.

Step 1: Familiarize yourself with the German word “rauschen.” Understand that “rauschen” is noise in the sense of white noise, waterfall noise, background noise, static, wind in trees, rain, etc. The blurred, diffuse, continuous kind of noise, not short individual non-tonal sounds.

Step 2: Consider that the word “rauschen” is half of the family name of the late artist Robert Rauschenberg, who was famed for his collages.

Step 3: Record several “rauschen” noises and make a sonic collage of them.

Seven More Important Steps When Your Track Is Done:

Step 1: Include “disquiet0398”

sough (disquiet0398)

This piece is based around the infamous 18-minute gap in the Watergate Tapes (from the Watergate scandal of the Nixon Administration: see here for an excellent discussion and analysis: www.forensicmag.com/article/2011/02…8-12-minute-gap) 
President Nixon regularly taped White House Oval Office conversations, and the gap is the part of one tape that was mysteriously erased right around the time of the Watergate investigation. The gap is a really interesting piece of audio--it's not really silence; it's full of clicks and buzzes and hisses. It's also interesting for what it tells. It's quite clear it was deliberately erased, and in more than one session, so the cover story that it was accidentally deleted is obviously false. In that way, the gap speaks pretty loudly.

The piece is coded in ChucK, and I first wrote a program that picks a random spot on a loop of the gap audio, then plays it through a low-pass filter and a volume (ADSR) envelope at random speed (I coded a switch to link the filter to the envelope, too). I liked what I heard when I altered the filter cutoff while playing with it--sounds a bit like robot cello or something. But it needed some background accompaniment. 

So, I decided that during lunch today I would record the sounds as I walked from the Watergate Hotel to the White House-the two locations most associated with the scandal. Upon arriving at the Watergate, I came upon a waterfall that I hadn't seen before (shown in the picture), so I started my recording there. I walked to the White House, recording the whole way. Walking into the park across from the White House, I spied a fountain, so I thought a recording of the fountain would make a nice sonic bookend. I created a "backing track" that starts with the Watergate waterfall and ends with the White House fountain. I panned it from right to left to give a sense of travel and the historical arc from one location to the other.

To make the submission, I had one ChucK program run the backing track while I launched versions of the 18-minute gap program mentioned above, altering the filter cutoff, the duration of the code, and the filter-envelope switch with each version. 

The ChucK code is available in my Github: 

https://github.com/charliekramer/ChucK/blob/master/disquiet0398%20nixon%20rauschen.ck

https://github.com/charliekramer/ChucK/blob/master/disquiet0398%20nixon%20walk.ck

The audio is too big to upload to Github but I'm happy to send it to you if you like--just message me.

More on this 398th weekly Disquiet Junto project — Rauschen Bern / The Assignment: Make music by making a collage of noises — at:

https://disquiet.com/0398/

This week’s project is the first of three being done in collaboration with Musikfestival Bern, which runs in Switzerland from September 11 – 15, 2019. More details at:

https://www.musikfestivalbern.ch/ 1

More on the Disquiet Junto at:

https://disquiet.com/junto/ 2

Subscribe to project announcements here:

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

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0398-rauschen-bern/ 4

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

disquiet0398 nixon rauschen

writer enjoying ordering sounds

www.soundpropositions.com



lo-fi ambient electronic, limited only to the cheap gear and equipment i have, and free recording software.

co-founder and writer for A CLOSER LISTEN (www.acloserlisten.com)

co-runs lost children net label (www.lostchildrennetlabel.com)

co-founder of the now defunct the silent ballet.

inspiration: robin guthrie, tim hecker, black to comm, fennesz, vladislav delay, stars of the lid, jon hassell, giuseppe ielasi, hue, harshcore, nicola ratti, ezekiel honig, jonh cage, kluster, machinefabriek, klaus schulze, MB,  moritz von oswald, steve roden

Freedom & Command

thenewobjective