Lee Street Beach (manipulated inharmonic series)

September 13th, 2014

The sound is that of my aeolian harp modified with lead fishing weights and then manipulated in Sonar X3. Version 1 is in the video.

Version 1

Version 2

Fishing Weight Prepared Aeolian Harp (inharmonic series)

September 12th, 2014

AdobePhotoshopExpress_2014_09_12_21-17-35

This is a second variant of my prepared Aeolian Harp – using slit ball lead fishing weights I create a large inharmonicity in the strings. Guitarists will be familiar with the phenomenon of old corroded and / or dirty strings losing proper intonation. This is forcing the effect to an extreme. Each picture can be enlarged. This works well on guitars too. A gong like sound often results, though when rain hits hard on a string a bell like tone can be produced. I apologize for the hiss. My choice is to live with the hiss and not detract from the full sound and muffle the top end with noise reduction. And on that subject, the added weight here is concentrated and does not present a large surface area like the steel plate did. So this version was harder to be activated by wind and was quieter and required a larger volume boost.

140910-193253nrmhttp://micro.soonlabel.com/inharmonic_series/prepared_aeolian_harp_balls/140910-193253nrm.MP3

140903-122643nrm http://micro.soonlabel.com/inharmonic_series/prepared_aeolian_harp_balls/140903-122643nrm.MP3

140904-120654nrmhttp://micro.soonlabel.com/inharmonic_series/prepared_aeolian_harp_balls/140904-120654nrm.MP3

140905-111110nrmhttp://micro.soonlabel.com/inharmonic_series/prepared_aeolian_harp_balls/140905-111110nrm.MP3

140905-221736nrmhttp://micro.soonlabel.com/inharmonic_series/prepared_aeolian_harp_balls/140905-221736nrm.MP3

140906-165957nrmhttp://micro.soonlabel.com/inharmonic_series/prepared_aeolian_harp_balls/140906-165957nrm.MP3

140910-141138nrmhttp://micro.soonlabel.com/inharmonic_series/prepared_aeolian_harp_balls/140910-141138nrm.MP3

140910-191602_nrmhttp://micro.soonlabel.com/inharmonic_series/prepared_aeolian_harp_balls/140910-191602_nrm.MP3

The Faith of Stanley Praimnath

September 12th, 2014

“When Flight 11 struck the North Tower, Praimnath started to evacuate from his 81st floor office in the South Tower, but he returned when the building’s security guards told everyone the South Tower was secure, and they should return to their office. He did not realize, at that point, that a plane had struck the North Tower. Soon after reentering his office, he saw a United Airlines jet heading directly towards him. Right before impact, he dove under his desk and exclaimed, “Lord, I can’t do this! You take over!” The left wing sliced through his office and became lodged in a door twenty feet from him.[1] Praimnath was bruised and covered in debris after the crash which left him stuck and unable to escape on his own.” Cited from Wikipedia I suggest you read the rest of the story.

The Faith of Stanley Praimnath is for Sound-In. Seeing how this week’s event started on the anniversary of 9/11 I wanted to write a piece that made a statement about this tragic event. In researching for a photo I found a real life event of one man’s ordeal that day that says more than any photo. This composition is created exclusively with the new soft synth virtualCZ by Plugin Boutique using the supplied factory presets.

Speedy (17 equal, electronic)

September 5th, 2014

Robot_Contest_Entry_1__Speedy_by_Asimov_Club from the Asimov Club archive on Deviant Art

Speedy is loosely themed on a short story from the Issac Asimov I, Robot series.

A Floral Arrangement in 17 Equal

September 5th, 2014

P1070240-512

A Floral Arrangement in 17 Equal is a direct in, no effects or editing, improvisation on my 17 edo electric guitar.

a choral study in 17 equal – animated score

September 1st, 2014

a choral study in 17 equal was written in a response to a call for microtonal choral works on the Facebook group Xenharmonic Alliance II by William Lynch.
The score is here
The audio is here

The full quality video is here

Prepared Aeolian Harp – Steel Plate

August 31st, 2014

IMG_2831

spectrum

The Prepared Aeolian Harp is going to be a series of modifications – like the 3rd bridge post. This modification was inspired by the harp picking up a tornado warning siren by sympathetic vibration. The reasoning here is that the steel plate offers more surface area and would be a more sensitive detector. To some extent this is correct. The harp has become very sensitive to foot steps even in the back of my home. (Those are just “thuds” and more from the large mass of the plate vs the pickups I suppose) and I saw and just heard in one spectral view a car motor. Since this is new there needs to be some optimization. The current file displayed here is almost entirely due to wind – on a day with very light (<5 mph) breezes coming from over my home to the back of the harp – the worst possible angle. So I am looking forward to the experience of having a windy day and a more favorable wind direction. Even at these mediocre conditions the harp pickups can be easily overloaded and I am recording with compression on (applied after this recording) to prevent spikes. The plate is about 6″ x 18″ and 32nd” and is mounted by weaving the plate into the existing strings.

a cup of time (harmonic series / just intonation)

August 30th, 2014
graphic by William Victor Newbold

graphic by William Victor Newbold

a cup of time is a derivative work of 4 compositions by William Victor Newbold. I sampled the four pieces listed below and applied harmonic filtering and also pitch adjusted the filtering to be in the form of a just minor-minor seventh chord (1/1, 6/5, 3/2, 7/4) – effects were applied in the Sonar X3 mixing process. You can hear the originals at this location.

non-buzzed-effectual-contextations-of-dimensions-2a-a020
outside-part-6
buzzy-a020-hows-edits-one-1
beyond-the-outside-levels-of-time-1

Lullaby for Refugee Children

August 29th, 2014

(Syria_1,_Emergencies_6)_(9362333059)

Lullaby for Refugee Children by Christiane Offenbar (vocals) and Chris Vaisvil (EP 73).

17 12ths – Just Intonation Interval Music

August 27th, 2014

DSCF1130crop

17 12ths is a piece inspired by Scott Thompson’s addition of Just Intonation intervals to the xenwiki. The music you hear uses the interval of 17/12 as plucked strings in Kontakt 5 with adaptive “pure” tuning with a harmonic 7th turned on. I improvised and then added reverb in post production. Each key played is an interval of 17/12 and when using multiple keys complex harmonies build up quickly though Kontakt tries its best to interpet and at times you can hear a pitch drift when I add a note to a ringing chord.

The xenwiki says the following about this interval:

In 17-limit Just Intonation, 17/12 is the “second septendecimal tritone,” measuring very nearly 603¢. Its inversion is the “first septendecimal tritone,” 24/17, and the interval that separates them is the small comma 299/298, about 6¢. This difference is usually negligible, and tempering out this comma allows the 600¢ half-octave to function as both septendecimal tritones. Thus, every even-numbered EDO system contains a close approximation to these intervals.

17/12 is the mediant between the two septimal tritones 7/5 and 10/7.