Friday, March 14, 2014

Static, Thunder and Waveforms

These albums are some of my favorite sonic tapestries that reside within my headspace. Designed for repetitive listening to take you deep into the late night ether.

80-minute long infinite-repeat sonic atmosphere for low-level ambient playback. Created to accompany the large-scale conceptual artwork of Michigan-based artist Kate Armstrong-Blanchard. This recording was infinitely repeated for days-on-end in museum settings. EQ and compression curves have been optimized for low-level playback (just above the threshold of silence). Hiss, crackle, and various "audio defects" are part of the source material, and intentionally maintained, as to preserve original sonic "air" and depth. Constructed with custom-built Granular Synthesizer, Publison Infernal Machine 90, Yamaha QX21 sequencer, and Sony PCM1630.

...filtering, pitch-shifting and processing the material using granular resynthesis, aiming to achieve erosion and diffusion of the sound while preserve some of the original movements. The signal became the noise. The sonic sculptures...were created mainly by feeding short pulses of filtered noise into a complex network of granular delay lines. No natural recordings were used as source material - this is a completely artificial world. 

...synthbox duties, contributing Fairlight IIx, Emu Emulator III, Synclavier II, tape loops and "Atmospheric Phenomenon" among other sources, [with] analog input with an array of Korg synthesizers, recordings of the dead, and field recordings made during periods of highly-charged paranormal activity.
Over ten tracks the pair transport the listener through ghostly sequences of ethereal drones, radio static textures and almost imperceptible tonal shifts, leaving lots to the imagination which should be stoked by the inclusion of recorded paranormal activity. 

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