New Disquietude podcast episode: music by Lesley Flanigan, Dave Seidel, KMRU, Celia Hollander, and John Hooper; interview with Flanigan; commentary; short essay on reading waveforms. • Disquiet.com F.A.Q.Key Tags: #saw2for33third, #field-recording, #classical, #juntoElsewhere: Twitter, SoundCloud, Instagram

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

Half-hour Robert Henke MP3

It may be my imagination, but it seems that with each new “Free Track of the Month” that Robert Henke posts at his website, his descriptive abilities get stronger, more precise, and more illuminating. The latest download is an uncut version of the track “Plankton,” which originally appeared, in shorter form, on his Floating.Point collection in 1997. The Floating.Point version was just under 10 minutes in length, while this take is three times that. Over the course of its half hour, the piece, an effort in abstract and often beatless techno, gets muddier and thicker; there’s a kind of glistening scintillate overlay early on, though by the end a certain inherent insistence has been revelead, and what sounded like aural fairy dust has become a kind of treble grind.

Here’s a bit of what Henke says of the track himself:

The toy which made this track possible was our Boss RSD-10 sampling delay, a small digital delay unit that made it possible to feed back its output to the input. Unlike in modern delays, the feedback was realized analog, so each repetition of the signal went thru the (cheap) analog digital converter, into the memory and back to the digital to analog converters. As a result, the delays get more and more deconstructed and noisier with each repetition. This effect can be clearly heard in the last 10 minutes of the take. The unit also allows to change the delay time by continuosly changing the sample rate, which also alters the pitch.

The two altering chords in the background sounds like being created with a Prophet VS. I must just have gotten it at that time, maybe even at exactly that day… The other sounds including the flickering and the alien-like backgrounds come from the SY 77, manipulated by Gerhard Behles, while I operated the Boss delay, the other effects, and the mixing desk.

There’s additional information, including technical specifications, at monolake.de. Henke posts free MP3s monthly, but with a strict stipulation that no one link directly to the file, only to the webpage itself.

One interesting note about attribution. The Floating.Point album was released as a Robert Henke album, not a Monolake album — back then, Monolake was a collaboration between Henke and Behles, the latter of whom went on to found the audio software company Ableton, where Henke also works. Despite that distinction between “Henke” music and “Monolake” music, apparenlty Behles also worked on this “Henke” track.

By Marc Weidenbaum

Tag: / Leave a comment ]

Post a Comment

Your email is never published nor shared. Required fields are marked *

You may use these HTML tags and attributes <a href="" title=""> <abbr title=""> <acronym title=""> <b> <blockquote cite=""> <cite> <code> <del datetime=""> <em> <i> <q cite=""> <s> <strike> <strong>

*
*

Subscribe without commenting

  • about

  • Marc Weidenbaum founded the website Disquiet.com in 1996 at the intersection of sound, art, and technology, and since 2012 has moderated the Disquiet Junto, an active online community of weekly music/sonic projects. He has written for Nature, Boing Boing, The Wire, Pitchfork, and NewMusicBox, among other periodicals. He is the author of the 33 1⁄3 book on Aphex Twin’s classic album Selected Ambient Works Volume II. Read more about his sonic consultancy, teaching, sound art, and work in film, comics, and other media

  • Field Notes

    News, essays, surveillance

  • Interviews

    Conversations with musicians/artists/coders

  • Studio Journal

    Video, audio, patch notes

  • Projects

    Select collaborations and commissions

  • Subscribe



  • Current Activities

  • Upcoming
    December 13, 2021: This day marks the 25th anniversary of the founding of Disquiet.com.
    December 28, 2021: This day marks the 10th anniversary of the Instagr/am/bient compilation.
    January 6, 2021: This day marks the 10th anniversary of the start of the Disquiet Junto music community.

  • Recent
    July 28, 2021: This day marked the 500th consecutive weekly project in the Disquiet Junto music community.
    There are entries on the Disquiet Junto in the book The Music Production Cookbook: Ready-made Recipes for the Classroom (Oxford University Press), edited by Adam Patrick Bell. Ethan Hein wrote one, and I did, too.
    A chapter on the Disquiet Junto ("The Disquiet Junto as an Online Community of Practice," by Ethan Hein) appears in the book The Oxford Handbook of Social Media and Music Learning (Oxford University Press), edited by Stephanie Horsley, Janice Waldron, and Kari Veblen. (Details at oup.com.)

  • Ongoing
    The Disquiet Junto series of weekly communal music projects explore constraints as a springboard for creativity and productivity. There is a new project each Thursday afternoon (California time), and it is due the following Monday at 11:59pm: disquiet.com/junto.

  • My book on Aphex Twin's landmark 1994 album, Selected Ambient Works Vol. II, was published as part of the 33 1/3 series, an imprint of Bloomsbury. It has been translated into Japanese (2019) and Spanish (2018).

  • disquiet junto

  • Background
    Since January 2012, the Disquiet Junto has been an ongoing weekly collaborative music-making community that employs creative constraints as a springboard for creativity. Subscribe to the announcement list (each Thursday), listen to tracks by participants from around the world, read the FAQ, and join in.

    Recent Projects

  • 0511 / Freeze Tag / The Assignment: Consider freezing (and thawing) as a metaphor for music production.
    0510 / Cold Turkey / The Assignment: Record one last track with a piece of music equipment before passing it on.
    0509 / The Long Detail / The Assignment: Create a piece of music with moments from a preexisting track.
    0508 / Germane Shepard / The Assignment: Use the Shepard tone to create a piece of music.
    0507 / In DD's Key of C / The Assignment: Make music with 10 acoustic instrument samples all in a shared key.

    Full Index
    And there is a complete list of past projects, 511 consecutive weeks to date.

  • Archives

    By month and by topic

  • [email protected]

    [email protected]

  • Downstream

    Recommended listening each weekday

  • Recent Posts