Name: televangelism by ethel cain, but it's slowed and reverbed by meias in i cant lie it knocks me the fuck out
Duration: 4 min 4 s
Description: televangelism by the artist ethel cain slowed and reverb

What does it take to leave it all behind?

Everything down here, for everything up there...

listening to this makes me feel comfortable and sacred... 

also does someone have the credits of the background?

and i forgive it all as it comes back to me

me at three AM completely sinken and consumed by my own thoughts

خخخخخخخخههخخخخخخخخخخخخخخخخخخخخ احيه

i cant lie it knocks me the fuck out

fiona apple - pale september (live)

Hole - Softer, Softest (MTV Unplugged)

Headache (Grouper Cover)

Anything We Want by Fiona Apple (live) at The Bowery Ballroom

Virgin Suicides

The Word 'Hurricane' (sped up)

televangelism by the artist ethel cain slowed and reverb

televangelism by ethel cain, but it's slowed and reverbed

Live recording of the Ethel Cain (@mothercain) concert in Berlin on 01/12/2022.

Live at silent green, Berlin, DE, December 1, 2022

Ethel Cain - Hard Times [Live at Silent Green, Berlin - 2022]

ethel cain - for sure

Two-Headed Mother (slowed) - Ethel Cain

ethel cain - hard times (slowed + reverb)

Ethel Cain - Waco, Texas (slowed to pure agony).mp3

Six Three
1: Six Three, 02:32
2: Six Three Touch, 03:00
3: Six Three Orbits, 03:39
4: Six Three Particles, 02:13

Dates:
05-Dec-2025 (inception), 06-Dec-2025 (finalised), 07-Dec-2025 (released)

Artists:
Music composed, performed, produced by Norman Freund
Artwork by Norman Freund

BandCamp Purchase:
https://normanfreund.bandcamp.com/album/six-three

SHORTEN VERSION, excludes Table 1 tuning, see my BandCamp site or my social media page for full details (https://www.facebook.com/norman.freund.545/)

Description:

Marcelo Leal Ref. [1] posts an article on FaceBook group, "Microtonal Music and Tuning Theory" and tags me, I looked on with interest. A tuning scale developed using at most harmonics one through to and include sixty three, octave reduced (i.e. divided by powers of 2 to ensure the frequency ratios remained within the 1. to 2. range. 32 Notes were used in this scale with adjacent note intervals starting from 53 cent, gradually reducing to 27 cent for the last interval to the first octave. So loosely speaking a quarter tone tuning with some stretching. I have tried quarter tone equal divisions of the octave tunings (24EDO) in the past and could not really get warm with them. Still, I was intrigued. 

Thirty notes, a lot of intervals to imagine, so I thought some form of colour coding on my Ableton Push2 midi controller would help. My Digital synthesiser, PulseRectOsc has micro-tuning and a user definable colour table, so switched this on and began experimenting. Stepping back just a bit, some preparation work on a spread sheet was necessary to calculate the frequency ratios, figure out a colour system using nearest 12EDO notes as a frame work.

The colour coding was to start the root note out as RED (1), colour all the diatonic notes of the nearest 12EDO major scale notes (the white keys on a piano) in GREEN (10), colour the nearest 12EDO sharp accidentals (#) in BLUE (15) and what was left over (the ^ and \/'s) coloured in PURPLE (18). The note naming convention used here was intended as a performer guide.

The PulseRectOsc synthesiser is a drone with a pulse like wave shape, amplitude modulation, wave folder distortion, a delay+feedback net work and your choice of VST reverb (or other effect). I used the Native Instruments' Raum for reverb. PulseRecOsc has an eight track audio recorder, so I recorded some four note chords to improvise over on the Soma Lyra 8.

The Soma Lyra 8 tuning approach was to tune it by ear to eight notes from the Table 1 tuning for the first track prior to the performance, then improvise a melodic line. Subsequent tracks would use a different four note drone chord from the PulseRectOsc and the Lyra 8 would use the tuning from the previous track as a starting point but alter the tuning during the performance. Each performance would introduce additional entropy into the tuning as performed on the Lyra 8, all done live, by ear, during the performance.

Each track's duration was purposely kept short, I wanted to demonstrate the various flavours of the 63-Limit Otonality tuning and in Lyra 8 style interpret this tuning organically.

The signal chain for the Lyra 8: mono out to the Soma COSMOS (rhythmic firmware, adds reverb and stereo space) -> stereo to digital interface -> 8 track recorder of PulseRectOsc.

The tuning of the Lyra 8 is very organic, is influenced by adjacent oscillators and has a "MOD" dial to accept frequency modulations from what it calls a "Hyper LFO". The Hyper LFO comprises of two low frequency oscillators, I used them here in the OR mode not synchronised, each pulse of the LFO changes the oscillator voice frequency according to the MOD dial. You don't control it strictly, more like guiding it, you listen and decide to increase or decrease the amount of modulation. A very organic approach.

References:
[1] Marcelo Leal, 5-Dec-2025, 63-Limit Otonality by Pitch (tuning scale). FaceBook group "Microtonal Music and Tuning Theory" Link: https://www.facebook.com/share/p/1asmaHiK7G/

Six Three

588_Pickle_19jun2025

born a cop in uniform in black vinyl gloves
i don’t hate you for your steel-toed boots
or your handcuffs
you are the way you always were
you like your cruel games
but i am not so quick to break
i count my gain in blood & pain

i like it when it hurts like hell
there’s nothing you can do to me
i wouldn’t do to myself
i’ll be bound to you in leather & chains
i’ll be your sister your young bride
your daughter your slave

televangelism by ethel cain, but it's slowed and reverbed

meias

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السُلافْ

sebastian williams

Musicismedicine

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