February 13, 2014, is the official release date for my 33 1/3 book on Aphex Twin's 1994 album Selected Ambient Works Volume II, available at Amazon (including Kindle) and via your local bookstore. • F.A.Q.Key Tags: #saw2for33third, #sound-art, #classical, #juntoElsewhere: Twitter, SoundCloud, Instagram

Listening to art.
Playing with audio.
Sounding out technology.
Composing in code.

tag: ipad

Cues: Deaf Gaming, Twang Bar Noise, Tank Preservation, …

Plus: a 30-part sound documentary on BBC, the history of Celluloid Records, and more

Deaf Gaming: Interesting anecdote from a recent gamasutra.com piece on the late video game creator Kenji Eno, written by Brandon Sheffield. The “Eno” in this is, of course, Kenji (not Brian), and the Saturn is the Sega game console from the mid-1990s:

“For his next game, Sega wanted to make it an exclusive — whatever it was. Eno had recently met with some sight-impaired folks who liked to play action games, and he asked himself, “What if you made a game that the blind and the sighted could play equally?” So he created the game Real Sound, which is an audio-only retail game, and made Sega promise that if he made the game exclusive to them, they would donate 1,000 Saturns to blind people, and he would supply 1,000 copies of the game. Again, this was an unusual idea for 1996, but he felt the stagnancy of the industry, and went to great lengths to shake it up.”

Surround Sound: The Tank is a 60’ x 30′ vessel — a “rusted steel water tank” in the words of its caretaker, Bruce Odland, who has made use of its inherent 40-second reverb since 1976. He’s set up a kickstarter.com campaign to ensure its future use:

The campaign ends March 31, 2013. More on the project at kickstarter.com. (Thanks for the tip go to Joshua Izenberg, whose film Slomo just won the Documentary Short prize among the Short Film Jury Awards at the 2013 SXSW festival. Jeremiah Moore, the sound designer on Slomo, is apparently also involved in this Tank project.)

Electretymologies: There’s a hair’s-breadth matter of word choice in today’s “playlist” by Jon Pareles in the New York Times. In a single column he reviews six records. For SuunsImages du Futur he mentions “the repeating synthesizer tones of early electro.” For How to Destroy AngelsWelcome Oblivion he mentions both “dank electronic sounds” and how “the electronics mostly give way to the acoustic.” And for Draco Rosa’s Vida he mentions “dipping into new wave, Caribbean styles, electronica and, at the end, hard-rock blasts.” The emphasis is mine. Those are four distinct terms, all variations on a core root prefix, all used in close proximity: electro, electronic, electronics, and electronica.

Twang Bar Theory: This is pretty great. Over at youtube.com, Adrian Belew (King Crimson, Talking Heads, Nine Inch Nails) as part of the Chicago Humanities Festival back in 2011, discussing the “history and future of guitar noise”:

The event opened with a guitar solo, to set the tone, as it were, for the event, and there’s a third section as well.

Docusound Platform: Promotional video for the site docusound.org, “a platform for producing and distributing audio documentaries”:

Sonifying Auckland: Sound designer Tim Prebble, along with filmmaker Denise Batchelor, is a 2013 artist in residence of the Auckland regional parks system. Details at scoop.co.nz. Here is description from the announcement: “He’ll record local native birdcalls, slow the recordings to allow notation and then ‘play with this as the DNA of music’, embellishing and orchestrating it. On completion, his music will be played at a local venue and a CD, tentatively called The Bird Song Preludes, will be available after his residency.” More from Prebble at musicofsound.co.nz.

Celluloid Heroes: The first of two parts of a documentary about Celluloid Records, over at youtube.com, featuring among others Bill Laswell, DXT (formerly Grand Mixer DST), and label founder Jean Karakos:

Re-scanning: Great interview at thequietus.com with Scanner, aka Robin Rimbaud, about his range of activities. He goes project by project, talking about his early work with the technology from which he took his name (“The scanner was connected directly into a tape deck the whole time. This was ’91, ’92, this was anticipating an idea of the internet, there was no access to this kind of networked world that we’re so comfortable with today. These voices and accessing them suddenly took you into a very private place that you could never otherwise be in.”), collaborating with filmmaker Derek Jarman and artist Mike Kelley, and “re-soundtrack[ing]” the final two minutes of Michelangelo Antonioni’s L’eclisse, and much more.

In Brief: There’s a 30-part audio documentary titled Noise: A Human History being presented starting tomorrow, March 18, on BBC 4 by David Hendy of the School of Media, Film and Music at the University of Sussex: bbc.co.uk (via bl.uk). ¶ The palmsounds.net provides a brief overview of a talk Rob Thomas (of Reality Jockey) gave in London about mobile music. ¶ In the Field: The Art of Field Recording is a new book containing interviews with artists whose work employs field recordings. Among those are Andrea Polli, Christina Kubisch, Francisco López, Hildegard Westerkamp, Jez Riley French, and Lasse-Marc Riek. (Thanks for the tip, John Kannenberg.) ¶ “Why Do People Use ‘Nope’ Even Though ‘No’ Is Shorter?” (at slate.com, via Quora). The short version is that “no” may have half as many letters but the hard stop at the end of “nope” arguably makes it more succinct. The author, Marc Ettlinger, has other theories as well, including an informative bit on “sound symbolism.” ¶ Robert Henke, aka Monolake, is coming to the San Francisco Bay Area as a visiting instructor at CCRMA, the computer music department at Stanford University. In a warm-welcome gesture, the department made the page announcing his course look just like a page from Henke’s own monolake.de website. ¶ That White House petition to make unlocking cellphones legal, mentioned here recently, has gained President Obama’s support. ¶ The 62nd Disquiet Junto project had 44 participants, each making music from three sine waves. ¶ Here’s a recording of Steve Reich’s “Radio Rewrite,” his new adaptation of Radiohead’s “Jigsaw Falling Into Place” and “Everything in Its Right Place”: youtube.com. (Note, it’s audio only. Found via the indispensable rgable.typepad.com.)

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Drone + Video = Vrone

Exploring the sonic potential of the Vine app

2013-vinelogoThe app called Vine facilitates the easy production of six-second audio-video clips. It has managed to locate an entertaining parallel between tweets and animated gifs, between short outbursts of self-expression and the hypnotic splendor inherent in repetition.

My first Vine post (I’m @disquiet on Vine) was of a 7″ single playing on a turntable, specifically a 7″ that was a compilation of locked grooves, short loops in which the record needle gets stuck and plays forever. The length of the loop and length of the video do not quite match, and the seam is all too evident, but it was a fun experiment, especially because it used an old nifty bit of loopy pop culture to test out a new nifty bit of loopy pop culture:

(The compilation 7″ in question was released in 1993 on RRRecords. It features pieces by Big City Orchestra, Controlled Bleeding, Randy Greif, Jim O’Rourke, Gregory Whitehead, and 95 other contributors. View the full track list at discogs.com. There’s a picture of it at deadformat.net.)

Matthew Barlow has posted several items on Vine that are musical in nature — that is, they emphasize the audio as equal to if not over the visual. That is in contrast with the majority of Vine posts, in which the sound is often just the ambient noise of whatever happens to have been going on when the video was shot. Note that outside of the Vine app itself, Vine loops come up muted, requiring the listener-viewer to opt to turn up the volume. One example of Barlow’s exploration of Vine’s sonic potential is this bit of wind chime, which can be thought of as an especially early version of endlessly looping music, though of course its structural complexity makes those sounds more varied that a locked groove. When looped to six circular seconds, the distinction becomes less meaningful. Barlow ingeniously uses multiple seams between short segments of clips of the wind chime to make the overall length of the clip less self-evident than it would have been with a straight single shot:

The core of Barlow’s Vine experiments have tended to focus on a balance of visual and drone. He’s tagged them many things, including #lofi and #loop and #experimental, but foremost is the neologism #vrone. It is a useful term, not only because it suggests a new form, but because the word #drone on Vine is mostly of small flying objects.

Here is an example of his efforts:

And here is another:

Better yet, use vineviewer.co to pull up the results of the #vrone hashtag, and listen to (as of this writing) three of Barlow’s pieces playing simultaneously.

More from/on Barlow, who is based in Asheville, North Carolina, at twitter.com/MattCBarlow and matthewbarlow.bandcamp.com. More on Vine, which is currently only available for iOS, at vine.co and itunes.apple.com.

Postscript: Shortly after this was published, Barlow informed me that the term #vrone was suggested by the musician Sima Kim.

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iOS Dub

A mobile beat by Mike 88

What really makes the melody that floats atop the Casio-inspired beat of “Float On By” by Mike 88 is how it avoids melody-ness. Sure, it is more varied, more melodic, than is often heard in beat-driven, dub-oriented, iOS-generated electronic music, but it is also willfully absent of the key things that make melody melody, which is inward consistency, such matters as cycles of repetition and incremental development. Instead the melody veers between brief riffs and droning mantras, and often ventures into rangy soloing, more like an extended solo by a jazz musician than a verse by a songwriter. It’s heady stuff. Mike 88 states in a brief accompanying note that the whole thing was put together in a series of iOS music tools: DM1, NodeBeat, iKaosilator, and Orphion.

Track originally posted at soundcloud.com/mike-88. More from Mike 88, aka Mike Dayton, at twitter.com/dayton_mike.

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Running the Tabletop

An app demo by Richard Devine

20121218-rdevine

There are various ways to discern an individual’s presence in social media, key among them is the simple integer associated with the individual in a given network. Take SoundCloud.com for example, where Richard Devine has north of 55,000 of what we’ve become accustomed to call “followers.” His reputation as a tech clothes horse precedes “Glitch Breaker Demo,” a track he produced on the iOS app Tabletop, which is a kind of meta-app, containing assorted mini-apps that emulate various audio tools and instruments, from effects filters to drum machines to a simulated turntable. Devine’s track is IDM by way of EDM, a slowly raging deployment of the various tool at hand:

In related news, the iMPC — the iOS version of the classic Akai drum machine — is the first “Tabletop ready app,” which is to say it comes with a free unlocked version that appears within the Tabletop system. More on that at the Tabletop developer blog at retronyms.com. It’s pictured in the screenshot that accompanied Devine’s track, shown up top.

Track originally posted at soundcloud.com/richarddevine. More on Devine at richard-devine.com.

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“Losting” with Mark Rushton

A display of the recent iOS app Samplr

Following up an app-related note in an earlier post here, Iowa-based musician Mark Rushton has posted another example of his work with the Samplr tool, a recently released app for the iOS operating system. The track is titled “Losting,” and it’s a slowly undulating bit of atmospheric effluence. Writes Rushton of the core of the track’s development: “It’s based around a melodic ostinato, and while the motif repeats over and over you’ll hear things changing in the background ever so slightly.” The result is like a miasma with a pulse, a threadbare haze that comes and goes with the elegance of a fragile, rotating machine. Oh, and he recommends good headphones.

More from Rushton at markrushton.com.

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