Presented here are the first recorded works following a decade of experimentation. These early compositions aim to refine and define several methods in generative music making, to prove the indefinite moods and experiences possible and understand more of how the listener is stimulated by such unfamiliar territory. The compositions break from the barriers of scale and timing associated with traditional music to allow the freedom to explore new possibilities. All use generative tools in their music creation and are the outcome of self-made audio and visual synthesisers coupled to different stimuli. Control comes in varying degrees from the rules set at the beginning of the development process. Methods for playing the machines vary greatly according to project. Unexpected outcomes are celebrated and essential to the process.
Track descriptions below refer to CD or Digital album included with the Limited Edition Vinyl.
Tracks 01, 02, 03, & 12 are constructed with a number of different machines playing together. Synchronised to the master timing, they are confined to a reduced spectrum of sound possibilities but able to modulate their own notes. Composition involves auditioning each oscillation as it progresses, accompanied by a decision to keep or modify the source settings. Many involve oscillations as long as the track they are in and so a lengthy process evolves, choosing and mixing each machine’s chance outcome to form one composition. In track 12 the machines are constrained more and set to revert to a hand sequenced pattern, ending all note variation.
Tracks 04, 05, 06, 08 & 09 are produced from the internal randomisations of the ever developing Project C synthesiser, originally designed for the See-Sound project. It can produce almost infinite sound possibilities and has total freedom to define its own timing, number of different sounds played at once and how they are played. With a certain life of its own, it produces sounds and sporadic rhythms to layer each other forming undefined structures and micro-structures. These can be interrupted by the machine’s next stimulus whilst still remembering parts of the theme it started with and able to reintroduce it at any time. Tracks 04, 05 & 06 use an additional audio input combined as modulator and audio source for granular processing.
Tracks 07, 10 & 11 are born from manipulated visual data similar to genome map extracts. Tones are produced according to colour information and the generated waveform is then tuned within another synthesiser engine. Sections from longer recordings have been selected here to become individual tracks, to demonstrate some interesting note choices and dynamics that encourage the ear to listen harder.
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released June 21, 2010
Thanks to Curtis Roads, Juan G. Roederer and the late Wassily Kandinsky for their inspirational research and documentation. Thanks also go to Phil Durrant for his work I have been able to reverse engineer and also the continued support received from Christine Huettemann at Audio Architecture.
Composed and produced by Experimenter En Couleur.
Recorded at Audio Architecture Studio, London.
All tracks © 2010 Audio Architecture.
All tracks © 2010 Audio Architecture, except tracks 02 and 07 &11 © 2007 Audio Architecture. www.audioarchitecture.co.uk