Delay feedback sweeps from dual Bugbrand PT Delays in series, with first one in no input.
Main "theme" is White Dwarf V2
Percussion by Hordijk + Moisturizer
One Live take, no overdubs, no post prod

Never entirely different, never quite the same

analog instruments
This track is part of the project album ILUMEN, published by Entr'acte label - E189 - CD OUT OF PRINT 
ILUMEN digital release is available here :
https://eryckabecassis.bandcamp.com/album/ilumen

Ark - from ILUMEN CD - Entr'acte E189

Fully automated patch, totally hands free, played by White Dwarf V2, BEMI Music Easel, 2x Bugbrand PT Delay. One live take, no overdubs, no post processing.

Im keller

Frustrated Waves

This is the recording of a live improvisation performed at Freerotation festival in Wales.
I was seated on the floor of the yurt with the audience so as to give us the experience of travelling together.
Thanks to Steevio for making it possible and to everyone who was there experiencing it with me.

The following machines were used-
Buchla Music Easel
Electro Harmonix 45000
Strymon blueSky
Sony PCM-D50 recorder

Freerotation 2015

Anthony Child - Live improvisation at Freerotation, Wales 11th July 2015

Korg PS3100: pads & ambiance
Minimoog D: solos
Waldorf Streichfett: strings
Akai Z4: malaisians bells

Cinétique

SYNTISyser

today's live recording of Control Voltage Therapy's Spatial Frontiers.  Todd Barton and Bruce Bayard: Buchla Music Easels.
I Waterphone solo (barton)
II Easel Solo (bayard)
III Easel Duet
IV Easel solo (barton)
V Shakuhachi solo (barton)
VI Easel Duet

Spatial Frontiers V

raw recording, no processing, jus a late night jam.

Demora with customizer software used as a dual filter to process 101. (12db lpf - 6db hpf in serial)

SH-101 processed by Roland Demora , Mutable Elements, Intellijel Metropolis

Zeitdehner (time stretcher) is one man's output channel for sonic abstractions.The pieces depict events, feelings, thoughts, facts, illusions and realities in a simple and focussed way, with much attention given to moods, textures, density and resolution. Going down to the very grain of the image, like an examination of a Polaroid snapshot through a looking glass or a microscope, like putting the time & space flux through a sample & hold device. Sometimes zooming back out to get a broader picture, thus altering the very sense, the perception of time & space, hence "Zeitdehner". Always looking to reconcile the abstract with the concrete. These microfictions are created exclusively on modular synthesizers. The approach is to use no multi tracking techniques, instead capturing the patch live, as it is, in real time. This is to retain the spontaneity and the live nature of the work, with all the idiosyncrasies of the methodology. The computer is only used to capture the, so to speak, unaltered ephemeral moments.

 

I've always been fascinated by electronic music and what better instrument than the synthesizer to create such music? Over the years, I used lots of different types of synthesizers, all with their particular interface, set of features and character, but never was I fully satisfied. Eventually I found satisfaction in starting a modular synthesizer. This type of instrument is taylor made for my approach to electronic music and my way of working. I love the ergonomy, the aesthetics, the sensual, physical and intellectual relationship with the instrument. It offers me quasi total functional freedom and the means to explore the realms of  my creational processes, limited only by my own imagination. The resulting music is, at last, up to my expectations. The music in itself is more of abstract soundscapes than the casual, academic forms. I would not dare to call it experimental, as this has all been done long before by real experimentalists and sonic pioneers. "Its substance is in the instant, the ephemeral, like a split second in eternity, like polaroid snapshots of the fabric of time and space, like depictions of the Human nature within Nature and the Universe".So do they say...




Never entirely different, never quite the same

Zeitdehner

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