My 33 1/3 book, on Aphex Twin's Selected Ambient Works Volume II, was the 5th bestselling book in the series in 2014. It's 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.

Monthly Archives: March 2019

Guitar Learning: First Shift

An attempt at phase shifts with ambient guitar loops

This short video is of two simple loopers that are ever so slightly out of sync. By the point at which the video begins, both of the loopers had accrued several layers of audio, all of it culled from an electric guitar. Some of the audio is shared between the two loopers, and some is unique to each separately. The starting point of each of the two loops is signaled when the given looper’s light briefly blinks. Shortly after the midpoint of this recording, the two loops can be seen to come into sync, and to then proceed to drift apart — to shift, to phase — again.

The looper used here is the original Ditto from TC Electronic (due to its popularity, several variations on the Ditto followed). I bought my first one used a few years ago, and have always enjoyed how simple yet effective its controls are. Despite having just one button and one knob, the Ditto comes with a manual that is nearly a dozen pages long, because different combinations of button clicks cause different processes. When I found another inexpensive secondhand Ditto, I picked it up just this afternoon with the express purpose of exploring asynchronous loops such as this one.

Video originally posted at my youtube.com channel.

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Guitar + Synth Learning: Ultomaton Software

This is a quick, initial attempt on my part with a new piece of software called Ultomaton. The name is a play on the word “automaton” because the software employs Conway’s Game of Life, the famed “cellular automation” simulation, as a source of triggers and other controls, such as volume and place in the stereo spectrum, for all manner of sonic processes. These effects include stutter, backwards audio, looping, and granular synthesis, several of which are heard in this test run.

What I’m playing on electric guitar as the source audio is the first of the 120 right-hand exercises by composer Mauro Giuliani (1781 – 1829). I’ve been working my way through these exercises for the past few weeks, and sometimes experimenting with ways to make practice even more enjoyable, such as prerecording the chords to supply accompaniment. The real-time processing of Ultomaton provides accompaniment as I play, built from the very things I am playing at that moment. The accompanying screenshot shows the Ultomaton controls as they were set for this recording.

The electric guitar went into the laptop, a Macbook Air (2013), via a Scarlett audio interface. After recorded, the audio was cleaned up in Adobe Audition: volume increased, bit of reverb added, and fade-in/fade-out implemented.

Track originally posted at soundcloud.com/disquiet. The Ultomaton software is the work of Benjamin Van Esser, who is based in Brussels, Belgium. The software is free at github.com/benjaminvanesser. More information at benjaminvanesser.be.

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25 Years of Selected Ambient Works Volume II

How the 1994 album prepared us for today

It’s now 25 years and a day since Aphex Twin’s album Selected Ambient Works Volume II came out. It was released on the Warp Records label following fast on a single, “On,” one that in no way laid the foundation in listeners’ ears — and, before that, two years earlier, had been Selected Ambient Works 85-92, which was far more foregrounded sonically.

There were other releases from Richard D. James in between — notably the full-length Surfing on Sine Waves, under another Aphex pseudonym, Polygon Window — that came closer, but SAWII was and remains its own quiet beast, with little precedent or subsequently in the works of Aphex Twin that approaches its emphasis on atmosphere and the subtle nuances of its rhythmic expression.

When RDJ resurfaced in 2014 after an extended quiet period, he uploaded hundreds of unreleased tracks to a variety of playful SoundCloud accounts, turning a new generation of listeners on to his deepest crates, and many of them into trainspotters. Still, few among those vast outtakes felt of a piece with Selected Ambient Works Volume II. The SoundCloud files confirmed a longstanding rumor of vast archives, and also further identified SAWII as a unique recording.

Another quarter-century gap from, say, 1955 to 1980 can be measured in various ways. From Chuck Berry’s “Maybellene” to Queen’s “Queen Crazy Little Thing Called Love” it seems quite proximate — from the McGuire Sisters’ “Sincerely” to Kurtis Blow’s self-titled debut, considerably less so. The gap from 1994 to 2019 doesn’t feel as wide to me, but that no doubt has to do with me having been alive and a fully conscious adult for the duration. There may be less music by Aphex Twin that sounds akin to Selected Ambient Works Volume II, but there is considerably more music in general today that does than in 1994, not just music but more broadly a culture that reflects its rich interiority, its minimalist impetus, and its acoustic curiosity — from the sound design of filmed entertainment and video games, to the ubiquitous if rangy field come to be known as sound art, to the increasing personal attention we pay, individually, to our intimate sonic spaces.

In many ways Selected Ambient Works Volume II — building, of course, on its own decades-old influences — laid the groundwork for what sound sounds like in 2019. Here’s to another quarter century.

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Disquiet Junto Project 0375: Despite Yourself

The Assignment: Make a piece of music that sounds as unlike you as you can accomplish.

Each Thursday in the Disquiet Junto group, a new compositional challenge is set before the group’s members, who then have just over four days to upload a track in response to the assignment. Membership in the Junto is open: just join and participate. (A SoundCloud account is helpful but not required.) There’s no pressure to do every project. It’s weekly so that you know it’s there, every Thursday through Monday, when you have the time.

Deadline: This project’s deadline is Monday, March 11, 2019, at 11:59pm (that is, just before midnight) wherever you are on. It was posted shortly before noon, California time, on Thursday, March 7, 2019.

Tracks will be added to the playlist for the duration of the project.

These are the instructions that went out to the group’s email list (at tinyletter.com/disquiet-junto):

Disquiet Junto Project 0375: Despite Yourself
The Assignment: Make a piece of music that sounds as unlike you as you can accomplish.

Step 1: There is only one step for this project: Make a piece of music that sounds as unlike you as you can accomplish.

Seven More Important Steps When Your Track Is Done:

Step 1: Include “disquiet0375” (no spaces or quotation marks) in the name of your track.

Step 2: If your audio-hosting platform allows for tags, be sure to also include the project tag “disquiet0375” (no spaces or quotation marks). If you’re posting on SoundCloud in particular, this is essential to subsequent location of tracks for the creation a project playlist.

Step 3: Upload your track. It is helpful but not essential that you use SoundCloud to host your track.

Step 4: Post your track in the following discussion thread at llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0375-despite-yourself/

Step 5: Annotate your track with a brief explanation of your approach and process.

Step 6: If posting on social media, please consider using the hashtag #disquietjunto so fellow participants are more likely to locate your communication.

Step 7: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Additional Details:

Deadline: This project’s deadline is Monday, March 11, 2019, at 11:59pm (that is, just before midnight) wherever you are on. It was posted shortly before noon, California time, on Thursday, March 7, 2019.

Length: The length is up to you.

Title/Tag: When posting your track, please include “disquiet0375” in the title of the track, and where applicable (on SoundCloud, for example) as a tag.

Upload: When participating in this project, post one finished track with the project tag, and be sure to include a description of your process in planning, composing, and recording it. This description is an essential element of the communicative process inherent in the Disquiet Junto. Photos, video, and lists of equipment are always appreciated.

Download: Consider setting your track as downloadable and allowing for attributed remixing (i.e., a Creative Commons license permitting non-commercial sharing with attribution, allowing for derivatives).

For context, when posting the track online, please be sure to include this following information:

More on this 375th weekly Disquiet Junto project — Despite Yourself / The Assignment: Make a piece of music that sounds as unlike you as you can accomplish — at:

https://disquiet.com/0375/

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0375-despite-yourself/

There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.

Image associated with this project adapted (cropped, colors changed, text added, cut’n’paste) thanks to a Creative Commons license from a photo credited to Heather:

https://flic.kr/p/E939r

https://creativecommons.org/licenses/by-nc-sa/2.0/

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