tsintsi
4006
been on a huge acid kick lately
3 Likes
yobink
4007
New Nathan Moody Buchla LP is sounding really good
5 Likes
jkile9
4008
Saw them last year in LA. Can’t begin to describe how great they were. Have been and always will be one of my biggest loves.
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This looks / sounds like it was a great time. Pretty fantastic all around
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@adam That was amazing. From around 5 minutes, it sounded like a sped up version of Mr. Bungle’s “Desert Search for Techno Allah”. Thanks for sharing this gem from Neurot. (Saw Neurosis live for the first time recently. Talk about a sonic storm!!)
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Some beautiful moments on this by Pennsylvania-based Ulla Straus! 
3 Likes
baleen
4017
lol third time this one’s been tipped here. everyone get in on it.
2 Likes
more Ulla Straus content! a curated playlist from last summer:
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Educating myself. This is really blowing my mind right now!
6 Likes
Pretty sure this must have been posted before but… pure bliss
6 Likes
konken
4021
i like the “speaker” setup/concept iannis is using here, http://granularsynthesis.com/hthesis/xenakis.html
quite ahead of his time.
maybe it’s time to use those 8 channel 24 bit 192 kHz PCM channels on a standard HDMI interface, 60 years later…
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Death metal generated by training a neural network on death metal examples. Read more about the research into eliminating humans from metal.
It gives me a similar feeling of continually frustrated expectations that I get from listening to Tuning '77, a supercut of the Grateful Dead tuning their instruments at every one of their shows in 1977.
4 Likes
Black Editions with another absolutely essential release. so excited to hear some of the unreleased versions.
1 Like
No less blissful as the one I posted yesterday White Night | Richard Lainhart | Ex Ovo
The piece consists of a dense, continuous four-note chord, each note in the chord recorded in a separate pass to one track on a Scully 4-track studio recorder. Each track consists of a single sine wave oscillator which is frequency modulated by a group of eight additional sine wave oscillators. Those oscillators are all tuned to different tones, each harmonically related to the fundamental chord tone. The amplitude of each harmonic oscillator is continuously varied under the control of an individual sequencer, and each sequencer is free-running - that is, the sequencers are not synchronized to each other, but rather running in their own independent timebases.The result is a continuously-changing complex harmonic waveform which modulates the frequency of the chord tone oscillator, generating a continuously-changing complex timbre based on the fundamental pitch of the note.
The center tone of “White Night” is 212 Hz, slightly higher than the G below Middle C. The other notes create a chord consisting of a perfect fifth below the center tone, a major seventh just below the center tone, and a major second above the center tone. “White Night” was composed without reference to the standard A-440 tuning system, as we had no such pitch reference in the studio; I just picked a center tone that felt right, and went from there. As such, “White Night” lives in its own pitch world.
The title “White Night” came about so: it was late December in upstate New York when I was finishing the piece, and a blizzard passed through town the night of the final mix. As I sat in the glow of the sequencers and tape decks in the University studio listening to the final version, I looked out the window and saw a security light on a building opposite the studio illuminating the blowing snow as it drifted off the roof. All I could see was the snow swirling in the light against the blackness; a moving painting continually drawn, erased, and redrawn, always changing, but always the same. It may sound bleak, but it wasn’t - it was beautiful. It seemed to me that the image of the dancing whiteness perfectly matched the sound of the piece, and so I called it “White Night” to commemorate that evening of wind and snow."
yobink
4026
A guilty pleasure with some obvious(ish) references, but I don’t care, it feels good
4 Likes
brook
4027
So beautiful and haunting. I’m listening to a lot of his music since recently becoming the owner of his half-size Continuum, complete with his name engraved on the case - I’d heard some things before but now I’m really diving into his remarkable work. It’s as if he’s haunting my studio, in the best possible sense, though I didn’t know him. What a wonderful composer, and a horrible loss that he died so young.
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I’m running through the back catalogue of the marvellous Resonance Extra broadcast, part of ATTN MAG. The latest episode is particularly interesting as the contributors were asked to talk about specific sounds or processes before the tracks are played. I have a track on there too but won’t say which as that isn’t what this post is about. You can catch this edition and many others here:
[https://www.attnmagazine.co.uk/radio/13779]
1 Like
