talk of water
we are a living system ourselves
made of mostly water
like in TCM theory
the qi flows with the blood
ripples thru multiple hands
two variations on the same sample
crow w/ splosh cycle
Yay! Glad someone found the script useful.
I’ve been listening to your Concentrics playlist this week and have been loving it (I’ll try to have something more interesting to say about them at some point later…). I find that that this piece is more active (for lack of a better word…maybe turbulent? agitated?) than most. Is that a coincidence, or are all those scriptable LFOs an invitation to chaos?
your script is a perfect utility and quite useful! (especially with the 2nd clock/cv-depth input)
this is an excerpt of perhaps 45mins i spent improvising with the patch…other passages are still quite active but the sequence can be heard unfolding in a more serene manner, perhaps more fitting for the concentrics series
but yes, i guess while trying to tame lets splosh feedback and wrangling the lfos this got wilder than the rest
gonna post two things as a “heads-tails” comparison made with similar tools and one sample in common
stacking instances of ekphras with two samples
ok more than two things…
i like the way space was carved out for each range of sound on this one
i’d like to make an open call for future cover art for the series…
one of my most rewarding music experiences involved creating music to fit existing visuals
haven’t tried in years tho
please dm or discuss here if loops, repetition, noise, duality/deception are thematic elements you are interested in
here is a sculpture which can serve as guide if you need inspiration for your piece
hopefully concentrics 6 or 7 will feature a cover by another member of this community
in true concentrics / lines spirit I want to pop in and share some notes abt the visuals I made for concentrics `` ``` cause I pushed myself to do new things for this project & it was fun !
while I did listen to a version of the album before I got started I was mostly pulling inspiration from a couple bits of @glia’s process that really stand out to me when I listen
time and space travel are super essential to me in visual + audible art forms. about a year ago I started getting obsessed with the idea of trying to document a physical space over a set period of time. I built a multiple-media installation around a couple weeks of photos/videos/sound I made while exploring a random building at my school.
the jumping off points for all the inkjet prints were weird esoteric photos of ceilings / crevices / textures from the building
from there it was a lot of maker tracing / scanning / photoshoping the pics which were then run into a Processing sketch that made random collages from the pre-manipulated material (which also printed down continuously from a printer I hid up in the ceiling tiles during the show). all of these techniques kinda parallel looping sound processes I got into bc of monome and function similarly for me.
water is a really beautiful metaphor for the way that time and space interact non-linearly in this type of art / record keeping.
the bummer is though these prints are kind of massive and since then they’ve just been taking up space in my apartment which kind of bothers me as someone who takes material waste kinda seriously.
@glia got me hooked on the idea of recycling. when you start to sample finished work from your past, which is also has samples of other things, it starts to obscure the “” “original” “”" in a weird mystifying way that starts to feel like the work sort of emerged out of nowhere.
it worked out well bc after listening to the first version of c5 I knew I wanted to blast the beats and work on a large scale rather than sit behind a computer, and I figured there was no harm in ruining those big prints I had shoved behind my piano (+ I honestly had 0 money for art materials anyway or the incentive to use more up)
went to work with those pieces on my back porch + some spare cans of spray paint/adhesive and this came out it
only problem was the aspect ratio was wrong and crops were kind of uninteresting - but it seemed to be in the spirit of the project to sample pics of this guy into another digital composition at a 1:1 ratio
with some feedback from jon I decided to mix the pic of this with the original digital files that I printed out for the show
the initial pass didn’t feel much more exciting than where I started - until I made this rad mistake that I’ve made before
cropping large images into a small frame often leaves more interesting layouts where you aren’t looking
final image ended up being one of these discoveries, layered with another mistake I love where I miss a pixel with the fill bucket tool an cover an area I didn’t mean to
gotta thank @glia for the positive creative vibes that pushed me to do something new here + the patience to delay the release while I took my time to figure this image out
(also @glia if you’re thinking this feels better in one of the other threads I figured you could pull out yr mod keys & move it hehe)
this is just perfect
i’ll try to make a more detailed post describing the beats and decision making on that side of the project
Replying here @glia because it feels much more on topic ^^
One thing I did wonder was how you’d acheive the very noisy / lofi tones ? Is this through Prosody or is there some kind of hardware involved outside norns ? Maybe you shared more of the process than I know of so sorry if this is all repeating yourself for you.
Oh and you should send Weighted / Keys to Dibiase because there’s definitely some of what he’s all about (Wonderful piece of music also !)
Just wanted to drop in and say that Concentrics - the project as a whole, art and music - is wonderful. Congrats and thank you to you both.
(Would love a big vinyl cover )
I’ll go through the thread later (I was put on to the record through @andrew ig and came cause of the title…no idea you were diving into it here) but anything you can share about process? record samples through norns scripts? Are there any live (processed) instruments? Thank you in advance.
Oh yeah and forgot to tell you @andrew without knowing you made the cover I just thought it was great, and seeing the process is even greater !
Through iteration, the project gets better and better—but I guess that’s the point, isn’t it?
trusted/axe: ableton with pitched drums and chime . ekphras loop / two layers of finger drumming > vulf compression and eq when recorded + resampled
hadassah/beleza: same formula . ableton with fx…i love the sense of confinement made possible with this combo
assam/ikeda: ableton . playing pitch and position of a vocal loop using ekphras . tribute to deantoni parks
prints/apiece: ableton . piano > ekphras trio > dirge + aaltoverb . made to sound like a paused vhs video frame
weighted/keys: op1 . collab with an offline friend who’d rather stay anonymous . he found + flipped a jazz sample then i added drums and arranged the beat > dubbed thru cassette
miko/nik: ableton . ekphras + aalto session > aaltoverb vulf and midside fx . named after miko revereza + nikita bugaev
nimble/tusk: ableton . ekphras + hand sequenced drums thru vulf
gap/twice: teletype + gieskes vuperc + ableton . short interlude thru heavy compression . dubbed from minidisc
fig/enough: ableton . all tone/melodies from a live kaivo + aaltoverb improv session . drums were hand sequenced except for the ekphras hat smear
tart/tuba: sp404 + logic . hand seq over a loop . sp delay critical to the sound . dubbed from cassette
no/soup: sp404 + logic . sample chops over the same loop . gauzy mid-ground melody (chords?) pitched up/down by my old cassette deck . whole track dubbed back to cassette > then to daw
hundo/seen: sp404 + logic . live acoustic drums recorded to cassette . looped by sp w/ other samples . my friends bass guitar . tribute to chris hund of paxico records
hoje/ontem: sp404 + logic . heavy use of roland dsp . autowah and bitcrush are the stars for this one . dubbed from cassette
glue/fringe: mlr + sp404 + logic . all but the two kicks were flipped within mlrv [max/msp app] . this is an example of the weird glitch/ratcheting hats that i still favor while using any looper [e.g. ekphras, norns]
awe/melanin: sp404 + logic . bitcrush and autowah again . dubbed to cassette
dusted/hatchet: sp404 + logic + tapedeck . hand seq’d drums over loop collage . inspiration for trusted/axe
yo/capaz: sp404 + logic . comp and bitcrush . re-pitched + dubbed from cassette
thank you so much for all the questions and kind words
i’ll try to touch on everything mentioned so far
no norns on this album but very much norns inspired…i used softcut based looper ekphras extensively on the the first 8-9 tracks
hundo/seen is the only track which includes live instrumentation in a more traditional sense [playing the drums and looped part of the session later on] . but the songs are full of one-shot drums culled from my music collection, my acoustic instruments, and sample packs i like [mostly lovibe or tuamie packs]
i re-pitch them freely and often use the same 2-3 samples on tracks repeatedly at different timescales to create unique texture
for example i enjoy using toms and pitching them down to be used as resonant kicks or dropping a bell to sound like a gong
a typical beat of mine has at least two layers of drums mixed together…frequently i’ll pitch drums high, play a rhythm over melody into a resampling slot, then slow down the whole track [or vice-versa, pitch down drums, play slow, and eventually raise the global pitch/tempo]
i’ll let andrew speak for me…
this represents coming full circle because I LOVED my sp 404 for the underrated dsp quirks and now finally feel at ease crafting similar rich textures w/o one
half the tracks are made combining Madrona reverb and delay, Goodhertz apps [compression, tilt, midside, limiter], and @andrew’s prosody suite [dirge, ekphras] within ableton
the other half rely on roland sp fx [mainly eq, autowah, bitcrush, delay] and cassette compression
the common factor is a positive mindset toward analog + digital tape experiments
Love seeing/hearing/reading of your processes. Thanks for sharing.