I first run of MultiWaves, a Max patch to make continually variable spectra in sustained sounds.

MultiWaves1Jan2023

This is output of the latest member of the SonoMorph family, “BeatSlicer.”  I take my inspiration from David Cope, the prolific composer, researcher and writer.  In April, he shared “The Recipe” for preparing midi files for modeling musical styles.  I was finally able to understand and apply most of his style modeling methods.  The source of this is the 3rd movement of Hindemith’s “Mathis der Maler.”  I read it in to a Max collection so as to reconnect the note on/off messages into a “note” consisting of attack time, key, velocity, duration and midi channel. All other midi messages are also collected and file by tick number – 480 per beat.  This allows me to jump around in the file to slice out and play a range of notes or measures.  I apply a harmonic overlay that includes 34 pitch sets chosen from 300+ possible (without transposition).  The pitch sets are sort by complexity so that quite natural progressions can shape phrases in ways that seem quite familiar. The unfolding of this harmony is a generative process.  Hope that explanation did not hurt too much.

PHMM3

This is my very first electronic composition realized in the Netherlands at the Institute of Sonology at the University of Utrecht. Although they were beginning to use computers, I made this with the very "classical" tape techniques of looping, splicing and speed changes.  All of the source sounds were created with various lab hardware - oscillators and filters.  Many of the sounds were recorded from unused radio bands that broadcast various colors of noise. The final mix was made with a bank of tape recorders playing at variable speed into a stereo mix.  It was a blend of the two major schools - the French Musique Concrète and the German Elektronische Musik.  Sonology had devotees of both approaches.  I was chastised for not choosing sides. :-)  Three years later, I switched to digital.

Circuit (1966)

geldryk

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