James Ross-Undifferentiated Light (2010)
James Ross-Undifferentiated Light (2010)
Solo electric guitar and Boss RC-50 looper. Inspired by Aldous Huxley’s 1961 MIT lecture, “Visionary Experience.”
Undifferentiated Light by jrossmusic
James Ross at Goodbye Blue Monday, on Fri., August 20.
also performed (on video) were Alex Carpenter and Michael Waller with help technical help from Richard Lainhart, Jim Goodin and the folks at ImprovFriday for helping to make it a great night.
From Honey to Ashes – Baby Bats
Baby bats is an improvised performance from Jeremy Keenan, Matt Lewis and Edgar Curtis, otherwise known as From Honey to Ashes.The sound world is created through a combination of foley, granulation, comb filtering and audio pops and clicks. Real-time rhythmic synchronicity is achieved between players by using a central network through which patterns are passed around and instruments are interconnected.
Paul Bailey: Music for Controllers V (2009)
Paul Bailey: Music for Controllers V
via paul bailey:
“improvisation performed and recorded live created by using various “controllers” (macbookpro, ableton live, korg nanokey, iphone, (buddha machine and srutibox) originally performed on ImprovFriday event. October 16th-17th 2009″
Music for Controllers V by paul bailey
curated by Shane Cadman
Alan Morse Davies: The Sontaran Experiment in the Style of Jóhann Jóhannsson (2009)
The Sontaran Experiment in the Style of Jóhann Jóhannsson
notes via alan:
“Just a bit of fun… I was playing around with how Jóhann Jóhannsson uses little splashes of a melodic motif bound together with big tracts of connective tissue, and I had the idea of linking it with one of my favourite Dr. Who epsiodes where the Sontarans travel back in time to made DaVinci paint multiple copies of the Mona Lisa in order to make themselves rich in the future. The explanation probably over-hypes the result by some order of magnitude.”
alan morse davies (wordpress.com)
curated by paul bailey
thanks also to marc weidenbaum’s excellent site disquiet.com for introducing me to the music of alan morse davies (and many others)
Richard Lainhart: Autumn Afternoon With Rain (2009)
Richard Lainhart: Autumn Afternoon With Rain (2009)
“a realtime improvisation for electric guitar with laptop processing”
originally posted on ImprovFriday, October 9th-10th 2009
Randy Gibson: Mujeres de Juárez (2009)
Randy Gibson: Mujeres de Juárez (2009)
from http://randy-gibson.com/v+sw/
“Voices + Sine Waves is a collection of short works by Randy Gibson written over the last 10 years. These works represent the most primal and basic of materials; voices ethereal and guttural; sine waves pure and distorted. Most of these pieces have been scores for short films or dances, but exist on their own as recordings of a single performance.”
Performers on Mujeres de Juárez: Laine Rettmer and Randy Gibson
Dave Seidel (mysterbear): A Door Into Spring (2009)
Dave Seidel (mysterbear): A Door Into Spring
Description
A rhapsody in distressed metal.
Duration: 9:14
I made a recording just under seven seconds long of the sound made by the spring inside my dishwasher door when it’s opened and closed. Then I slowed it down to a bit over nine minutes in duration and played it back in six layers, each at a different pitch. The layers are staggered low to high, making it a canon. Besides being time-stretched and pitch-shifted, the sampled sound has also been filtered, compressed, and reverbed, all in a few lines of Csound code. No other sounds, sampled or otherwise, were added.
(For the sake of completeness, I recorded the sample as a stereo 96K/24-bit WAV file using my Zoom H4 recorder. Then I used Audacity to trim it and convert it to mono before using the sample in Csound.)
Files/Downloads
MP3 (21MB, 320kpbs, 44.1/16)
FLAC (24MB, 359kpbs, 44.1/16)
Original sample and Csound orchestra/score (2MB)
via david toub
Dave Seidel: Nur (2009)
Ecstatic light: a virtual dhikr.
Duration: 7:50
Nur by mysterybear
www.mysterybear.net
from mysterbear.net
“This is my first SuperCollider (SC) piece. Having just put out a CD-R release, the result of three years or so of working with Csound, it seemed like a good time to try something new. Another excuse for experimentation was provided by an invitation to participate in the first show in the Unique States series. As I prepared for this event, I ported my Csound Risset harmonic arpeggio instrument to SC and started playing around with it in real time (something which is much easier to do in SC than in Csound). This piece is what emerged. I performed it for the first time at the Unique States event at BUOY in Kittery, Maine on Friday, January 9, 2009.
While it is intended to be performed live, I have included a rendering of the piece (available below) for people who just want to listen. If you use SuperCollider, and would like to try this, the source file (also available below) contains comments that explain how to play it; you should find it quite straight-forward. (Please note, if you are an SC aficionado: I know that the piece could have been written more compactly, but I am still a newbie, and I chose to err in the direction of directness, simplicity and readability as opposed to elegance. Plenty of time to get fancy later.)
The piece itself is no radical departure from my previous work, but continues to explore some of the things I find interesting, in particular the use of interference patterns to create subtle rhythms, the tension between stasis and constant change, and the power of perfectly tuned consonance.
If you listen to this on speakers (as opposed to headphones), please turn it up — the sound should fill the room.”
Adam Kondor: I’m Angry and You’d Be Too
