iPad - AUM recordings with Aparillo sequenced by Fugue Machine, processed using Discord4
I just recorded the first piece of music I’ve written, and have been confident enough to release, since 2011. I’ve been quietly writing music with modular for over a year, and this piece in particular I’ve been working for a few months. More is probably coming soon, but I wanted to drop this here and get your thoughts here. It’s a little rough because I did it live; I’m trying to figure out the best way to record track by track without having it sound bloodless. And yes, this is heavily inspired by Caterina Barbieri, who I think is just absolutely spectacular.
Hope you enjoy it! I’d love to hear what you all think.
Howdy, guys, time for a premiere! My first live video in two years – hope I’m conquering some of the newer territories – and certainly breaking something: at least speakers if it is not for ground, – since the last one I have posted. (Hear a demolition at about 28:23 and on – o’ the costs of playing hi-NRG sets!! not even sure how I pulled this stunt off: I had TWO limiters on each output!)
Tech details and what not @ MI Forum: ‘Mutable Modules thru 25-Kilowatt Venue PA’. See also: SARIN LIVE @ OK16 I СИЯНИЕ (СФЕРА) and ‘I Started Writing a BOOK’ – very on-topic kind of discussion where I’ve shared about 16 pages of my future guide to playing live with modular. (BE SURE TO CHEKKITOUT )
…Thxies! Be sure to shoot your questions related to my set and/or improvised live performance in general: I will address these in thread and may even elaborate on whatever it is you think I should later in my book. I’d really appreciate that; Peter Elsea provided a very good suggestion as far as the structure, and these things help a great deal! Oh, and hey, did I say I posted a chapter called PORTABILITY VS MONSTROSITY? You know it is not going to be a bad read when someone provides their take on 384,999U vs Tinysizer. Right?!
Thx again. Enjoy!!
Performing Modular Live
Coming back with a experimental work on techno. Deep and slow, bouncy and glitchy, hard and noisy, we’ve got it covered!
Ohh and I’d love to leave some codes here:
Redeem them freely, use the tracks freely too, and please leave a comment with what you think, that would really be great They are all mastered and ready for all sorts of retakes and destruction by other musicians. Redeem at opx7.bandcamp.com/yum
ate a small bit of dead man’s finger on a hike and this came out (w/ help from @lazzarello’s FM7 on norns)
Not sure if this still falls under “ambient” category, but anyway, I’m still exploring Octatrack capabilities of making a lot of noise out of very little source material. One original sample used here.
Trying to get out of Serge Res Eq drone land long enough to make a track. Here’s where my head’s been today.
New live recording from my most recent show, available to subscribers to my Bandcamp page:
I struggled with some anxiety and technical issues during this performance, which means that the piece didn’t come across quite as I had anticipated in the planning and practice stages. I consider it to be a failed performance, but also a valuable learning experience, and felt I should share the recording despite my personal feelings toward it.
I’ll be further refining the work started during this set into a fully-realized studio recording at some point this year.
Thanks for sharing! When I saw the performance, it came off as restrained and austere, but I also really responded to the fuller textures you developed toward the end. So I’d be really interested in hearing more about your plan/concept for the piece, and what kind of technical issues you ran into.
I think it came off as restrained and austere precisely because I was anxious, because things sounded drastically different from the practice sessions I had leading up to the show, and because I decided mid-performance to cut some of the more interactive moments (namely, the tapping of Ears to generate an envelope that momentarily altered a few oscillator parameters and a gate output that was tied to the Mod inputs on René and Tempi) since they weren’t working quite as anticipated.
I used all of René’s 64 states during this performance, with the last four intentionally programmed with more glides, some octave changes, and fewer available notes to quantize to, to give myself some less predictable elements to work around as I developed the fuller-textured, disintegrating loop / drowning-inspired ending that you enjoyed.
I think the next step for me is to reconfigure some parameters of the piece and work on programming 64 Tempi states to change concurrently with René’s state changes, for a mostly-automated, slowly-changing, and slowly disintegrating composition that accomplishes my original vision of the piece.
This first live take and the eventual final recording will be a very loose cover / reinterpretation of Tim Buckley’s “Song to the Siren” as part of the “Waterbody” series of works I’m working on this year. More about the significance of that particular song once I finally complete the composition and the recording.
I never feel like I’m giving my Cold Mac the attention it deserves, so today I patched the heck out of it. Here it is modulating a Clouds in Resonestor mode – little glorious stabs of chords with some droning sustain.
Wurli + Kaivo + field recordings + Analog Heat:
This is absolutely gorgeous, I’m also really enjoying you previous tracks on bandcamp. ‘the anticipation’ is
Really nice track and video!
Btw, Frode&Marcus is a very lovely duo! Been working with them before, such nice guys.
Thanks so much. I really appreciate the feedback.
back on my b.s.
perfect work soundtrack
“Resonant Night” - latest 4 tracker release
some raw cuts from the archives:::
free download on bandcamp.