Paul Amlehn - Intuitively-Determined Voice/Instrument Placements, Editing, Mixing, Production
Terry Edwards - Real-Time Radio Manipulation and Recording, Synthesizer, Percussion, Effects (Part One of Music Composition)
Eberhard Kranemann - Bass, Digitech FX Unit, Piano, MC-303 Groovebox (Part One of Music Composition)
Elliott Sharp - Synthesizer, Glissentar (Part One of Music Composition)
Jim Morrison - Poetry, Spoken Word Vocal
John Haeny - Sound Engineer for Jim Morrison Recording
Trent Reznor - Writing of Music and Performance (Part Two of Music Composition) 
Atticus Ross - Writing of Music and Performance (Part Two of Music Composition) 
Alessandro Cortini - Writing of Music and Performance, Guitar (Part Two of Music Composition)
Adrian Belew - Guitar (Part Two of Music Composition)
Hector Belioz - Sample from  His "Songe d'une nuit de sabbat" from His "Symphonie Fantastique" (Part Two of Music Composition)
David Lynch - Visual Art

They Haven't Invented Music Yet

To begin with I would like to thank you for coming to listen to what I have presented you today. Staying true to my motto of creating experimental electronic music that results from unscripted jam sessions, here comes my latest upload which features plenty of quirky sounds and curious samples.

As always, the Boss RC-300 loop station is the MIDI clock master to which I sync my humble Eurporack. As an inspiration for the whole session, I played back the Youtube video "Minimal Glitch - Modular Improv" by Modular Cult (@user-451526715), just to start things going, and then I added my sounds on top of his experiment and also modulated his original soundscape in order to put my spin on the whole affair. To spice things up, I decided to employ yet another Youtube video, "Saraz Handpan F Harmonic Minor 9" by Saraz Handpan. Since I love the intricate but calming timbre of handpans, I employed sounds of this lovely handpan playing F Harmonic Minor, that I put through the Mutable Instruments Clouds which was heavily modulated, again, to put my spin on it.

As you might have read in one of my previous write-ups, I love to include speech samples, especially by narrators who talk about music, which may or may not fit the session's narrative. This time, I settled on a lecture by Karlheinz Stockhausen, who is considered to be influential but also somewhat controversial composer, and one of the pioneers of electronic music. His explanations of changing musical moments really matched my approach, since I love to change up the flow of my jam sessions to keep things interesting. Additionally, to emphasize the transition from one particular segment of this track to another I used a famous Monty Python catchphrase.

During the course of this particular session I heavily relied on a combination of several modules, most prominently the Turing Machine with its expander Pulses, the LxD, the A-147, and the Radio Music. This setting ended up creating some glitchy rhythms, which very much reminded me of the track "Vertical Invader" by Frank Bretschneider & Taylor Deupree (@frankbretschneiderofficial, @taylordeupree). I decided so sample this track directly onto the loop station and after adjusting the tempo to my session's original tempo of 112 BPM, I was able to quite successfully incorporate this amazing minimalist track into my musical flow. 

Interestingly enough, the harmony of Vertical Invader went really well together with the sound snippets that came from the Radio Music module at this stage of the jam session. Also, the conglomeration of all these sounds matched the E Phrygian scale that I have been toying with for the last couple of weeks on my guitar and my synths. Since I am not much of a player, I decided to play back a couple of related Youtube videos and see if anything comes up that really fits the whole narrative. Indeed, in her Klezmer lessons, Robin Seletsky usually plays in E Freygish (which basically corresponds to the E Phrygian Dominant scale) and her clarinet's timbre tied the whole picture together. However, I mostly wasn't able to play back her videos in a rhythmically meaningful way, so I put many of the samples in post production.

Most of my tracks can be downloaded for free, and I encourage you to use them in your jam sessions and live sets. If you use any of my material, I really would like to know what you could come up with. So drop me a message and please give a shout-out to Mrs. Audio Boy!

MAB logo by @maxim-lichtenwald, check him out!

I hope you enjoy this one!


Samples from the following material were used:
* https://youtu.be/MFvynwLkGco
* Frank Bretschneider & Taylor Deupree - Vertical Invader
* https://youtu.be/NOSGbVNYFq8
* https://youtu.be/B83Iu_4FIIU
* https://youtu.be/M6hT2mGIlKo
* https://youtu.be/fK8nyiolmas
* https://youtu.be/7ZuAH-6E2vk

Electroacoustic Moments [Jam session sections: RAW2021 - 8]

WalkingSteps

Glaw Yr Haf

Out of the Box September 2022
Bells and flutes

Oriental Instrumental

Hello Listeners,

We're delighted to share Part 1 of the 'Synergy Jam' which was born 'in one take' during Christmas 2022. Tim's on Telecaster and I'm on his ancient Upright Grand.

May you enJoy! 😄

And please... dare to Let go, and dig 'the RelaXed Intensity' of Part 2 as well.

© Gary Courtland-Miles & Tim Elliot 2022
℗ Gary Courtland-Miles & Tim Elliot 2022

Synergy

Pure World

Unusual cuckoo call as a pair of cuckoos presumably court on a hot and breezy day.  The first call is that of the female.

The edited highlights of a twelve minute recording.

Recorded at Stodmarsh Nature Reserve, Kent on Saturday 7th June 2014.

Two Sennheiser 416s in XY Stereo configuration to SD744T.

Female and male Cuckoo Call

KEYCHAIN
Written and recorded by David Mohr
David Mohr - Vocals, Keyboard, Programming
Evan Bailey - Bass
Ben Lewis - Additional vocals and percussion

2023

KEYCHAIN

Loose Infection

Entropy

Wildlife sound recordist/farmer.

Website at www.thesoundfarmer.com

Female and male Cuckoo Call

The Sound Farmer

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