Emerging From a Shell – a remix of performances by Christiane Offenbar, Roger “ErocNet” Sundström, and Paul Mimlitsch with derivative tracks created from pitch extractions of the originals.
Hail, Hail – uses the same technique in a combination of manipulated piano improvisation and recording of a hail storm.
Alexey Leonov performing the first EVA.
Walking the Airlock is a poly-tuned piece using predominately 16 and 32 edo (notes per octave) with some unavoidable 12 equal and free-pitch material. The synths used are albino, zeta+ 2.1, kontakt, session drummer 3, and izotope stutter edit. Some effects and post editing were applied. The piece was performed on an M-Audio 88es and Korg nano-kontrol 1. Recorded in Sonar X1 with its native midi arpeggiator added to the session 3 drummer track. As for the picture – per Wikipedia
– NASA planners invented the term extra-vehicular activity in the early 1960s for the Apollo program to land men on the Moon, because the astronauts would leave the spacecraft to collect lunar material samples and deploy scientific experiments. To support this, and other Apollo objectives, the Gemini program was spun off to develop the capability for astronauts to work outside a two-man Earth orbiting spacecraft. However, the Soviet Union was fiercely competitive in holding the early lead it had gained in manned spaceflight, so the Soviet Communist Party, led by Nikita Khrushchev, ordered the hasty conversion of its single-pilot Vostok capsule into a two- or three-person craft named Voskhod, in order to compete with Gemini and Apollo. The Soviets were able to launch two Voskhod capsules before the first manned Gemini was launched.
The Soviets’ avionics technology was not as advanced as that of the United States, so the Voskhod cabin could not have been left depressurized by an open hatch; otherwise the air-cooled electronics would have overheated. Therefore a spacewalking cosmonaut would have to enter and exit the spacecraft through an airlock.
space trilobites by sinesquared
Trilobites in Space – in 15 edo made for the year end Sound-In event… don’t what posssesed me to put on my experimentalist hat this evening… but there you go. Please don’t expect pretty – but do join the migration.
Happy Baktun!! is a piece for harmonic series tuned piano, sitar, tabura, trumpet, piccolo and percussion with effects.
The Folly of Pegasus is an ambient piece in 17 edo using Edward Elgar’s Enigma Theme as a ground after translation to 17 edo. For 4 synthesizers, sopranos and tenors. The picture is manipulated from one I took while visiting Dallas one summer a few years back.
Paranoid Schizophrenia by visage porcelain
60×60 (2012) Composer Concordance Mix – try to attend a live performance! This piece premiered in NYC on 11/30/2012
3 ) What Are You Looking For? by Chris Vaisvil
Entry notes
This is a piece uses sequenced samples in various harmonic series segments that tries to evoke a sense of the tragedy of post modern contemporary temporal musical displacement within a larger structure of the implication of instantaneous quantum entanglement with spooky action at a distance as informed by Schoenberg’s theory of tonal harmonic regions taken to the obvious xenharmonic conclusion as a partial differential solution to the problem of American political polarization. Please use ears.
Additional notes added today:
The tuning is a 24 note harmonic series segment suggested by Denny Genovese for the piano and the Kontakt provided over / undertone series tuning preset for the choir. The short length was a result of the requirement that the submission was to be less than or equal to 60 seconds long. Note that this was a microtonal piece that made its way into a conventionally tuned 12 equal set.
Graphic by William Newbold
About 3 years back I asked William (Bill) Newbold, a visual and aural artist I admire and have collaborated with on many occasions to send me some midi files so I could manipulate them. This is the result of running his performance through pianoteq and Garritan Personal Orchestra using Lucy microtonal Tuning. The effect desired was to capture Bill’s performance as if it were on an amplified prepared piano with a symphonic orchestra. I’ll let you be the judge as to the success of the attempt.
