What Sound Looks Like

An ongoing series cross-posted from instagram.com/dsqt

It’s been raining in the city. It’s been raining hard on and off for weeks. It’s been raining, and the wind has been knocking down trees. In certain neighborhoods the intense buzz of the chainsaw has become as common a sound as one imagines it to be in rural areas, or in horror movies for that matter. Construction sites in this boomtown have been forced to take days off. Repair vehicles are a frequent block to traffic. People are expressing, albeit in diplomatically hushed tones, that they miss the drought. The rain and wind do their fair share of damage, and of cleansing. The city streets shine at night. The reflection of bus taillights on soaked black tarmac casts red streaks the length of full blocks. Perhaps the elements are to blame, as well, for this blank slate of a doorbell. It’s quite common for dwellings to be marked at multi-unit entries with thick pens, or with little plastic tags affixed by tape. Maybe the rain washed it all away. Though, judging by the uniformity of the buttons, the prim white grid, this is more likely a fresh install. Supporting the impression is the bright grey of the faceplate, and the barren cavity where there might in the future be a doorknob. What visitors are supposed to do in advance of the association of buttons with apartments is an open question. It’s also difficult to imagine how the labels will fit in this design. The spacing is tight. The sense of a geometric grid will diminish should the numbers be placed below or beside each button. Should they be written on the buttons, they’ll be worn away by usage, by friction and sweat. No doubt the landlord is waiting for the inclement weather to pass before labeling the buttons. Soon enough the rain will end, or at least take an extended pause. And then, almost certainly, the implementation of mundane visual damage will begin.

An ongoing series cross-posted from instagram.com/dsqt.

Beats from Old-School NYC, via Japan

A split EP of the Speedknots and N.Y. Confidential from Takara Digital

Takara Digital is a new, Japan-based record label releasing out of print and otherwise rare hip-hop. Takara was founded in 2016 by Yuzuru Kishi, and has already published albums from late greats including J Dilla and Big L, as well as still-kicking figures like Pete Rock and MF Doom. As of this writing, there are already 10 albums in the Takara catalog. One recent highlight is *The Nineteen Ninety Eight Split EP*, which is half the Speedknots and half N.Y. Confidential. Of the EP’s 16 tracks, four are instrumentals (my primary focus as a hip-hop listener). According to the brief accompanying liner note, the two halves of the EP were originally released separately. These are collectors’ items. On Discogs.com, the Speedknots vinyl has sold for as much as [$300](https://www.discogs.com/Speedknots-Remember-Me/release/4183819), and the N.Y. Confidential for close to [two thirds](https://www.discogs.com/NY-Confidential-NY-Confidential/release/1257750) of that amount. All the productions are seriously old-school, emphasizing instrumental samples, found sounds, and surface noise. A standout is the slow-paced, loose-limbed “Knotz Landin (Instrumental).” The vocal has a wacky delivery, part Beastie Boys, part Basehead. The instrumental is pure atmosphere, a little organ snippet on repeat above a rim-shot beat, some syncopation provided by what sounds like a broken speaker pushed past its comfort level. The whole thing has a slightly ominous, circus-after-midnight vibe.

Album originally posted at [takaradigital.bandcamp.com](https://takaradigital.bandcamp.com/album/the-nineteen-ninety-eight-split-ep). There doesn’t appear to be a website for Takara Digital, just the Bandcamp page.

The (Other) Helicopter Quartet

Aka Chrissie Caulfield, Michael Capstick, and a floor full of guitar pedals

This Helicopter Quartet isn’t four Stockhausen-annointed violinists in their own individual whirlybirds. This Helicopter Quartet is two musicians — Chrissie Caulfield on violin and Michael Capstick on guitar, and he appears to play a theremin app on a smartphone toward the end of this video — along with a floor full of guitar pedals. The pedals more than fill out the billing, though the duo together strive to eke out as subtle a space as possible. This piece is called “Quiet,” appropriate for a work that for all its myriad constituent parts sounds like one person working alone with a limited toolset, if not a limited palette. It’s all slow, arching tones, looped and layered, the seesaw of a slow lapping of water against a pier, the mood as calm as the deepest recesses of the night.

“Quiet” is a trial run toward a track from the Helicopter Quartet’s forthcoming album. Video originally posted at Chrissie Caulfield’s [YouTube channel.](https://www.youtube.com/watch?v=q4tbgraxsxE) It’s the latest piece I’ve added to [my ongoing YouTube playlist](https://www.youtube.com/playlist?list=PLAgCxRbmR1MJxihgJkCPEnehAPvjoF71-) of fine [“Ambient Performances.”](https://disquiet.com/2016/04/30/a-youtube-playlist-of-ambient-performances/) More from Caulfield at [chrissieviolin.info](http://chrissieviolin.info/). More from the Helicopter Quartet at [helicopterquartet.bandcamp.com](https://helicopterquartet.bandcamp.com/).

Hear the Refurbished 1970s Bell Labs Alles Machine Synthesizer

In a 2016 performance by Oberlin TIMARA undergraduate Judy Jackson

Oberlin’s TIMARA school has exactly one video on its [YouTube page](https://www.youtube.com/channel/UCKQOxzMpDZ7S5ojk1Exyggg), and it was uploaded this past week. What it shows is the early synthesizer the Alles Machine, named for Hal Alles, who built the instrument while at Bell Labs in the 1970s. Computer music pioneer Max Matthews also contributed to the Alles Machine’s development. The video is a performance from 2016 by TIMARA undergraduate Judy Jackson.

The Alles Machine has been in TIMARA’s collection since the early 1980s. This is from [a TIMARA blog post](http://www.timara.oberlin.edu/) on January 30, 2017: “[T]he instrument was donated to the TIMARA Department, although it was barely functioning and lay dormant till recently. TIMARA engineer, John Talbert, has repurposed the machine for future generations of TIMARA composers.” Talbert is one of the half dozen faculty at TIMARA, which stands for Technology in Music and Related Arts, and counts among its alumni the classical critic and composer Kyle Gann, electronic musician Bob Ostertag, and playful digital-media artist Cory Arcangel.

The original deployment of the Alles Machine involved a Digital Equipment Corporation’s LSI-11, a sibling of the PDP-11. An article from a 1983 publication of the International Computer Music Association by Talbert and his TIMARA colleague Gary Nelson describes (see: [umich.edu](http://quod.lib.umich.edu/i/icmc/bbp2372.1983.010/1/–alles-machine-revisited?page=root;size=100;view=text)) how Max Matthews visited Oberlin during the 1979-1980 school year, and that led to the TIMARA acquisition of the Alles Machine. Nelson and Talbert traveled to Bell Labs in June 1980: “After several weeks of asking questions and taking notes,” they write, “we gathered up technical documentation, circuit diagrams, and the machine itself and headed back to Ohio to begin a challenging but rewarding period of what the seal of Oberlin College calls ‘learning and labor.'” (And if you want to go wayback, here’s a [PDF](http://bitsavers.trailing-edge.com/pdf/dec/pdp11/handbooks/PDP11_Handbook1979.pdf) of the 1979 [PDP-11 Processor Handbook](http://bitsavers.trailing-edge.com/pdf/dec/pdp11/handbooks/PDP11_Handbook1979.pdf).)

It’s unclear when and for how long the Alles was mothballed, presumably decades, but a 2016 document from Talbert, [linked to from the TIMARA site](http://timara.con.oberlin.edu/jtalbert/Alles/alles.pdf), details how the Alles Machine was recently disconnected from the antiquated LSI-11 and now functions thanks to a Mac Mini (“loaded with programs such such as the MPIDE Programming Environment, Max/MSP and Steim’s junXion”). Here’s a shot of the Max/MSP interface:

Jackson is a senior at Oberlin, where she is pursuing dual majors, one of them in computer science, the other at TIMARA. Her performance with the refurbished Alles Machine opens with brittle static, the white noise of a failing radio signal from which slowly emerges random, more softly tonal elements, which in turn give way to a warping sing wave. Jackson proceeds to work with these elements, eventually ushering in ever more raucous waveforms. It may be my imagination, but she appears to have opted for an outfit that resembles the one worn by Laurie Spiegel in this widely viewed video of a 1977 Alles Machine performance:

The Judy Jackson performance on the Alles Machine also appears on TIMARA’s [Vimeo channel](https://vimeo.com/201033038). More on TIMARA at [timara.oberlin.edu](http://www.timara.oberlin.edu/). More from Jackson at [soundcloud.com/judy-jackson118](https://soundcloud.com/judy-jackson118).