WeirdThoughts (PushSession)

Martin Kula - album

Lost

Instrumental played on a three string fretted slide cigar box guitar that I built. This song is from my album Rocking the Box. Available now on Amazon.

Fret Down/ Instrumental

En homenaje al talento nacional, www.soundcloud.com/ois-agver y www.soundcloud.com/enternetboy navegan en el ciber-espacio para celebrar y compartir la música y el arte de creadorxs experimentales de México: www.soundcloud.com/askatasuna, www.soundcloud.com/orismx, www.soundcloud.com/isaacsoto, www.soundcloud.com/vaariosartistas, www.soundcloud.com/emilianodietzgen, www.soundcloud.com/llahuarleh, www.soundcloud.com/julianb, www.soundcloud.com/losinnsurgentes, www.soundcloud.com/portal-records, www.soundcloud.com/chakanaismx, www.soundcloud.com/borametz, www.soundcloud.com/raccoonin-records, www.soundcloud.com/todaslasanteriores, www.soundcloud.com/libertad-figueroa, www.soundcloud.com/piaka-roela, www.soundcloud.com/virtualtrash, www.soundcloud.com/chichilcitlalli, www.soundcloud.com/ois-agver, www.soundcloud.com/enternetboy

MACHÍN - Los Músicos Vienen Del Sol
Isaac Soto - Líquido
Emiliano Dietzgen - Con el cielo por dentro (mallugando poemas remix)
enternet boy - Movimiento (Radio Edit)
Llahuarleh - Itsmo
J͈ul̠ia͌ň ̖B̐r̡o̝d̅y - M'Bira Daze
Lost Inssurgentes - Subway
Borametz - Veladora de la Santa Muerte
Todas las Anteriores - Previú
Hërmës - Vibrantes (Demo 2018 Vol.2)
Çois Agver - Unreleased Track
Virtual Trash ✞ (ft. Chichilcitlalli) - Sueño Inconcluso
enternet boy - Sylph / In the King's Chamber
Çois Agver - MATERIALIZÁNDOME

Transmisión de www.soundcloud.com/viadeacceso en www.radioensayo.com el 17.9.20
Artwork: www.instagram.com/vda.adv x www.instagram.com/chromatismeno_nero
Show completo: www.mixcloud.com/viadeacceso/via-de-acceso-03-radio-ensayo-17920

Vía de Acceso

Showcase: Vía de Acceso 03 @ Radio Ensayo (17.9.20) / Un recuerdo para ellos de gloria

Mesmo's Midnight Adventure Theater of Sound presents: String Incident at Exeter

String Incident at Exeter

In einem Traum war ich eine Salatschleuder
und jemand hatte mich im Wald abgestellt.
Ich befand mich am Fuße eines großen Baumes:
ein Spitzahorn, glaube ich...

Ein seltsamer Traum

Cyclot [part 1]

good you

No more words, no more excuses. Listen to people... in silence. No ready-made clips were used, and everything was actually played with synthesizers.

Don't talk, listen

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 Touch

Wet Ink Winter Chamber Concert - Music from hcmf// 2019
December 13, 2019 @ St Peter's Chelsea

Kristina Wolfe: A Mere Echo of Aristoxenus (2019)
I. Ghost Aulos for Vitruvius
II. Heptaechon

Performed by Wet Ink Ensemble:
Alice Teyssier, flutes
Alex Mincek, saxophone
Ian Antonio, percussion
Eric Wubbels, piano
Josh Modney, violin
Sam Pluta, electronics

Kristina Wolfe: A Mere Echo of Aristoxenus (2019)

New York-based new music collective, founded 1998.

*Live Archive Page*

This page collects live recordings from recent concert performances by the Wet Ink Ensemble and Large Ensemble.

Wet Ink Ensemble is
Ian Antonio, percussion 
Erin Lesser, flute
Alex Mincek, sax/composition
Josh Modney, violin
Sam Pluta, elec./composition
Kate Soper, voice/composition
Eric Wubbels, piano/composition

Wet Ink Large Ensemble builds on this group with a flexible roster of over twenty NYC-based soloists dedicated to ambitious, large-scale projects. 




