Sounds from Innerspace

innerspaceboy · 08-10-2019, 04:01 PM

Cory Doctorow is a science fiction author, activist, journalist, and blogger, as well as the co-editor of Boing Boing, and a contributing writer to Wire. He worked for the Electronic Frontier Foundation and helped establish the Open Rights Group. Doctorow was also the keynote speaker at the July 2016 Hackers on Planet Earth conference.

He is the originator of Doctorow's Law: "Anytime someone puts a lock on something you own, against your wishes, and doesn't give you the key, they're not doing it for your benefit."

Common themes of his work include digital rights management, file sharing, and the digital economy.

I've read and re-read his articles numerous times after downloading his DRM-free ebooks from his Craphound dot com website, and decided these were essential titles for my physical library so I've purchased printed copies and am enjoying reading them all over again.

Here are Content, Context, and Information Doesn’t Want To Be Free. Highly recommend as an insightful, brilliant, and funny collection of his infamous articles, essays, and polemics on the state of copyright and creative success for content creators in the digital age.

These are essential works on Free Culture, Open Source, Creative Commons, Free Software Foundation, Copyleft, and the post-scarcity economics. I’d greatly welcome recommendations for other related films and literature for my library.

innerspaceboy · 08-16-2019, 05:48 PM

I’m honored to share an extraordinarily unique recording for this installment at Innerspace Labs. This is Bill Boulden’s (aka Spruke’s) innovative project, Pieces—A Thousand Albums At The End Of America.

From his Kickstarter page:

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Spruke's previous Kickstarted ambient music album Music To Die Alone In Space To featured the same album being rerecorded 310 times with unique variations for every backer. On Pieces, he will expand on this concept by adding an innovative new system of distributed storytelling.

This follow-up project tells the tale of a post-apocalyptic near future - a story spread over 96 LPs. Boulden partnered with Meep Records, a single-run lathe-cut vinyl manufacturer, to make it possible for the first time to own literally the only copy of an album in existence.

Boulden describes the album-within-an-album concept he employed for this record:

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When America falls, the musicians of the time period don't sit around and let it happen. These albums contain fragments of the music of this alternate future. They appear in fits and starts between other tracks; ten seconds as a lead-in to a piano piece, or a thirty-second interlude between two tracks, or maybe fifteen seconds of radio static between ambient passages where you can hear a radio station almost tuning into this song but not quite finding it.

I've hired hip-hop artists, barbershop quartets, folk singers, grrl garage punk, country singers, and more from this hypothetical future that may never come to pass, to come back in time and put their songs in tiny pieces on this album.

[The album presents a dystopia where] America is broken and abandoned. Relics from humankind's brief stay are slowly being reclaimed by nature, and one damning question lingers: What happened here?

Boulden explains “Distributed Storytelling” thusly:

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Cassettes. Handheld recorders. Radio broadcasts. Voicemails. When Americans saw their country dissolve around them, they left all of these and more lying everywhere, and you'll hear fragments of them as you move through a unique copy of the album... but never the whole story.

He leaves it up to the backers of the project to collaborate and piece together the full narrative. The LPs are not numbered, so there is no official chronology or oversight of the 96 segments. They were engineered through Boulden’s generative compositional process, and once the rules were set in motion the story unfolded on its own. The unique one-off discs were priced at $80-110 apiece and all copies sold out to the original backers of the project.

The social participatory factor here is exciting. Some of the backers shared their uniques on twitter as #BitsOfPieces. You can search that hashtag to find people swapping uniques and new material comes up on every copy.

The canonical edition was a randomly selected copy from the series, (Boulden believes it to be #36 or so), that was the copy chosen to print en masse and put on Spotify, iTunes, etc. Approximately 200 LPs were pressed of this edition.

The opening minutes of the canonical (wide-release) edition of the record set the stage with disembodied beeps and somber off-key sour synths. We are quickly introduced to curious smatterings of disconnected conversations about the dismal chaos that has come of America. These fractured dialogues are fast-forwarded and rewound from dusty old cassettes and fade in and out from distant radio signals on an imagined archaic analog tuner. We are wandering through the smoldering aftermath seeking signs of survival in a bleak 1980s vision of a dark near-future.

Musique concrète with a beat, this album offers captivatingly voyeuristic post-apocalyptic field recordings and static-laden AM / Ham / shortwave radio broadcasts with a bizarre displaced out-of-time personae.

Pieces… is richly hauntological and brimming with digitally-processed but authentic sounding artifacts of characteristically analog phenomena, including radio broadcasts, snippets of sorrowful minor-key piano melodies, retro television commercial segments, station-tuning and detuning, vinyl crackling, and tape wow and flutter. It features an impressively wide dimensional soundstage ranging from distant and lonely vocal echoes to vintage answering machines to in-your-face distorted guitar shredding, with looming drones and sustained synths to tie it all together with brilliantly seamless finesse. And the mastering quality is top-notch with a zero noise floor to let the artistry take front and center stage.

Pieces… is a work of 21st century studio wizardry richly in the spirit of classic Musique concrète and Eno’s generative methodology. (I also can’t resist its recollection of perhaps a Gothic incarnation of The Firesign Theater's Bozos LP, particularly reminisced with the clapboard opening and fractured radio adverts.) And there is undeniably a hearty dose of John Carpenter's desolate and foreboding 80s synths present here. But the record isn't just the score to such a film. With all the scattered original vocal samples it effectively conjures the visual of an unmade motion picture as well.

There are no verses or choruses. There is only the persistence of the constantly-shifting ambient foci with strange new sounds vying for the listener's attention at every turn. The album is a highly-engaging dystopian dramatization reminiscent of War Of The Worlds with the enhancement and magic of modern production which rewards dedicated listening. Pieces... is easily the most fascinating and impactful recording I've heard this year.

Five stars for its progressive concept, for its vision, for its implementation, for its production, for its social participatory element, and for music that truly deserves some attention.

innerspaceboy · 08-18-2019, 01:18 PM

It’s been a magnificently productive day at Innerspace Labs and we’ve reached what is to date our most prestigious milestone. I published a feature last March about the evolution of my life-long list-making of sound works, cinema, and literature that I’ve been meaning to explore. These lists also served to touch upon some of the special collections in my archive.

In the previous article I described how this process began with leather pocket journals, and as the scale of my library grew I began to publish annual print editions itemizing large collections.

These efforts were radically transformed several years ago when I migrated to Google Drive. But as the years passed and spreadsheets and documents multiplied, it rapidly became apparent that I needed to consolidate all of these various lists into a single, deep searchable index otherwise countless lists would be forgotten and disappear into the digital void of my Google Drive.

Thus began the Innerspace Labs Master Workbook project this past spring. Though this venture posed several new dilemmas. As the workbook grew to nearly 200 tabs, I received this error stating that Google Workbooks are limited to 5 million or fewer cells.

And it quickly became evident that navigation of all those tabs was painfully arduous in the mobile environment, as was its loading time. Thankfully, after careful research into various potential solutions, I’ve implemented a system of scripts and formula expressions which make navigating this large workbook a snap and its interactive response time nearly instantaneous.

By combining over 200 named ranges, and incorporating a primary dynamic drop-down and a dependent secondary drop-down field, along with an "=INDIRECT(CONCATENATE" expression calling named ranges based on user input, I’m now able to hide and lock all but one master sheet and made the entire workbook navigable from that single homepage.

The home sheet offers the user a primary drop-down of LITERATURE, SOUND, or VIDEO, which in turn controls a secondary dependent drop-down to populate and auto-alphabetize a list of all related content for that category.

I’ve also employed a script which is triggered by Google Clock to rescan the entire workbook for newly-added lists and to automatically incorporate them into the search fields alphabetically and by category as the workbook continues to grow.

I understand that it may not have significant value to anyone other than myself, but it’s intended to serve as a reference document along with the over 200-pages of archive summaries I’ve drafted in a companion Google Doc. With this easy-to-reference Workbook, I can pull up a list in seconds and start exploring. My hope is that the project helps introduce me to some spectacular content and that it helps me rediscover forgotten areas of my library.

The next phase of the project is to apply uniform formatting to all lists, as these were drafted independently over the course of nearly a decade, so I apologize for the crudity of its present format. And of course, there may be errors or omissions among the lists. But you know that I’ll work tirelessly to make this project as accurate and accessible as I can.

Here is a link to a copy of the latest version. It showcases and attempts to organize ~26,000 of the most noteworthy elements of my personal library and related subjects of interest. All cells are locked for editing except the two dynamic drop downs, which is sufficient for general users to explore and interact with the document. It’s far from perfect, but it’s a labor of love that I will continue to work on and which I hope will enrich my life as it continues to expose me to some of the greatest works of the ages.

The Batlord · 08-18-2019, 03:15 PM

^^^

Mindfulness · 08-18-2019, 05:48 PM

lol^ my reaction to innerspaceboy's posts most times

innerspaceboy · 08-18-2019, 05:52 PM

Quote:

Originally Posted by Mindfulness

lol^ my reaction to innerspaceboy's posts most times

Can you imagine if I got paid for this sh*t?

Just sayin'.

Mindfulness · 08-18-2019, 06:08 PM

Quote:

Originally Posted by innerspaceboy

Can you imagine if I got paid for this sh*t?

Just sayin'.

Your posts are really organized

innerspaceboy · 10-19-2019, 06:56 AM

Handfuls of Night, released October 4th is the highly-anticipated follow-up to Penguin Cafe's much-applauded 2017 album, The Imperfect Sea. The new album was conceived in honor of Greenpeace's commissioning Jeffes to compose four pieces of music corresponding to four breeds of penguins in an effort to raise environmental awareness for the endangered Antarctic seas. In 2005 Jeffes joined an expedition re-creating Scott's last Antarctic trip in 1911 for the BBC.

Erasedtapes.com notes:

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Handfuls of Night's tones, textures and melodies evoke otherworldly expanses, which at different junctures are either foreboding, awe inspiring or peaceful. There’s subtly morphing rhythmic repetition throughout, somewhere between minimalism, krautrock and the piano-cascades of label peer Lubomyr Melnyk. Jeffes creates a kinetic, circling motion, which drives the album forward in the form of a musical trip that mirrors the physical journey it was inspired by.

Steven Johnson wrote the following about Handfuls of Night for MusicOMH:

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At The Top Of The Hill, They Stood may initially just seem to be a simple, slight run of piano arpeggios with some melodica laid on top but over time becomes infused with emotion and depth. In short, it’s one of their most impeccable moments to date.

...

The closing stages see them further settle comfortably into the surroundings of their Erased Tapes label. With strings and piano outdoing any quirks or idiosyncrasies of previous albums they’ve never sounded closer to the likes of Ólafur Arnalds, and Nils Frahm. Yet, there’s still a distinct Penguin Cafe magic to Handfuls Of Night. The music here won’t come as a surprise to people familiar with their increasingly tightly managed aesthetic but it still provides a wonderfully calming sanctuary to temporarily get lost in.

But it was Michael Sumsion's captivating description of the album's music at vinylchapters.com which truly captures the elegance of this record. Sumsion beautifully writes:

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Penguin Café represent a disparate collective of musicians operating within the cracks between pop, classical, ambient and folk.

...

The group’s idiosyncratic raggle-taggle music has always evaded easy categorisation, roaming from exuberant folk and pop styles to electro-acoustic minimalism and African textures.

...

Bookended by the serene, plaintive ambience of Winter Sun and Midnight Sun, Handfuls of Night consistently demonstrates the band’s affinity for subverting conventional definitions of post-classical soundscape music and disarms the listener with its puckish wit, crystal-clear sensitivity and warmth of tone. They deftly condense folksy and filmic themes whilst conjuring shards of throbbing krautrock, sweeping, Philip Glass-inflected neo-minimalism and Michael Nyman-style piano arpeggios, most notably on the wistful At the Top of the Hill, They Stood...

The influence of somnolent folktronica is audible on Chinstrap and Pythagorus on the Line Again, but the dominant mode is that of a euphoric, homely chamber music which induces the welling of tear ducts, a plangent wash of strings, bending motifs and waves of succulent sadness.

Handfuls of Night succeeds as an enveloping haze of robust intensity and sombre tones, as keening melodies soar with orchestral precision and heart-rending execution. Even if it conjures nothing nocturnal for you, it represents some of the band’s most satisfying carvings of catharsis, exquisitely pitched between accessibility and depth, melody and dissonance.

Pensive and wistful, their latest effort is markedly more cinematic than their previous recordings, and its minimal stylings are befitting of what listeners have come to expect from the Erased Tapes label. Penguin Cafe consistently offers a charming and seamless blend of minimalism, folk, and classical musics, masterfully combining string arrangements, harmonium, melodica, and Glassian piano. Handfuls is a mature and engaging soundscape for active or passive listening, and a wonderful score to usher in the autumn.

innerspaceboy · 10-19-2019, 07:03 AM

I’ve always had a soft spot for 1930s big band music, born out of my fond memories of my late father taping FM rebroadcasts during the 1990s of original Your Hit Parade transmissions from 1935 to 1953. I touched upon this in July of 2018 in a feature titled, Gettin’ Sentimental Over You when I acquired my first big band vinyl box set.

At the time my big band library also included 181 LP-rips and broadcast archives I’d compiled into a playlist affectionately dubbed, Shirt Tail Stomp: Swing & The Big Bands. This collection includes a chronology of Benny Goodman’s complete discographic catalog spanning 1928-1949, a library of 89 radio performance broadcasts, the six-volume big bands series from Archive.org, both the Glenn Miller and Glenn Miller Gold Collection releases, as well as the four-disc Smithsonian – Big Band Jazz: From the Beginnings to the 50s box set.

Hungry for more great sounds, I performed some additional research this week and was overjoyed to discover a colossal archive of some of the best-mastered big band music ever issued. It began when my search led me to a discussion on the Steve Hoffman audiophile forum where a member inquired about a big band mail order series of LPs issued by Time Life in the 1980s. A few members chimed in that it was one of the best series available for the genre and provided a brief history of the releases. A detailed summary of the complete 29-volume series and tracklists is available here.

Here is the original television advert for the series:

I was absolutely floored to discover than an independent archivist calling himself gary34 had set himself to the task of compiling a digital lossless archival hybrid of the complete analog and digital releases from this Time Life series, complete with uniform tagging, album artwork, and transcription details in an accompanying document. He wrote:

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In 1991 Time-Life issued a subscription set of (Mono) CDs, using material which had already been transcribed for their original 'Big Bands' LP series almost a decade earlier. One of the first commercial DSP noise removal systems was used in the production of the CDs, to remove the worst of the imperfections inherent on the original mechanical media, (as captured on the master tapes used to make the LPs).

Unfortunately for subscribers, the CD set wasn't quite as complete as the original LP series. True, tracks were the same as those on the LPs, but the CD booklets had less information about the artist and the music than the excellent liner sheet included with each of the original LP sets. As well, only the big name bands made it to CD. The seven excellent compilations of less well-known material and groups did not.

This library comprises not only the 29 original volumes, but also includes the compact disc given out as a bonus from Time Life under catalog #TCD-134 which was a variation with an alternate track list from the original cat #STBB-28 titled, The Big Bands: World War II.

This hybrid collection brings together 100% of the recordings issued by Time Life in all formats which have been out of print and unavailable commercially for nearly 40 years and is a magnificent specimen for anyone who appreciates big band music and quality sound.

innerspaceboy · 11-12-2019, 06:31 PM

Just arrived at Innerspace Labs - hand-numbered copy #114/500 of Robert Rich's Premonitions vinyl box set.

A veteran of the minimal drone genre, Robert Rich has been a major figure in the ambient music scene for forty years. I maintain a complete discographic archive of Rich's 63 full-length releases totaling 72 discs of content in lossless archival FLAC including the seven-hour Somnium and eight-hour Perpetual: A Somnium Continuum sleep concert DVDs. However, very little of Rich's extensive catalog has ever been available in the vinyl format.

In an interview with Anil Prasad for the web-based music magazine, Innerviews Rich remarked that he wanted to work beyond the ~20-minute limitations of an album side so he gravitated toward cassette releases early in his career and later to DVD-audio. Presently, the only two of his releases currently listed for sale on Discogs’ used record marketplace in the vinyl format are Numena from 1987 and Stalker with Brian Lustmord from 2018. So I was absolutely delighted to discover the Premonitions 1980-1985 collection offered on vinyl directly from Rich, himself!

In a letter to Rich's listeners on his official website, he writes:

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Here’s one for the folks who keep asking me whether I’ll release an album on vinyl. Four discs of music from my formative years, most of it never before released. It also contains the strongest sections of the 1984 “Live” cassette, and the cyclic introduction from the original “Inner Landscapes.” I made new 24/96 digital transfers from original master tapes. It’s coming out in Germany on the label Vinyl On Demand (VOD122), and I’ll import 40 copies for listeners here in the USA. International shipping will be expensive for this, as it’s big and heavy, so I request to my European, Asian and Canadian listeners that they go directly to VoD to order the set. It’s at this link: http://www.vinyl-on-demand.com/-1-402-472.htm

If you are in the USA and you want to reserve one of these 40 copies of “Premonitions”, for purchase through our order form, you can use the CONTACT link up above on this site, and let me know your name, email, and shipping address. I’ll contact you when the records arrive. The price will be around $75 plus shipping. If more than 40 of you want to reserve a copy, I might be able to import more, but it will help me to know how many because they are a bit expensive. Thanks for listening! – Robert

And from the Notes section of the compilation's entry at Discogs:

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This 4LP box set focuses on Rich's early stage of composition and performance,1979–1985. Most of this music is previously unreleased, or came out on limited cassettes from the UK Auricle Label or Swedish Psychout Productions, which later became Multimood, and released his album “Numena” in 1986. Edition of 500 copies.

Discogs member, Richard Gurtler drafted a contextual review of the set which is also featured on the official Bandcamp Page for the release as well as on Robert Rich's website. In his introduction he writes:

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This amazing sonic document was released at the end of April 2014 on German Vinyl-On-Demand label run by Frank Maier, who passionately focuses on releasing various limited vinyl editions, which are mainly taken from various rare tape releases or feature unpublished material. VOD's catalog includes huge list of artists from industrial, noise, avantgarde, ambient... scene and each release with its packaging is a true piece of art. "Premonitions 1980-1985", released as a 4LP Box Set in limited edition of 500 copies with extensive liner notes about each track and including an official hand-numbered certificate card for each customer, is no exception, a pure visual bliss awaits after its unwrapping!

But the most in-depth details on this fantastic release are provided by the Vinyl-On-Demand site linked in Rich's letter. It offers Rich's own liner notes on every selection featured in the set -

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Selene & Ether 27:05

Recorded in summer of 1980 with Paia modular, newly acquired Prophet 5 and homebuilt Radio Shack analog delay, recorded direct to cassette at home. Unreleased until now. This was my first recording that ever got radio airplay, from "Music From The Hearts of Space" on KPFA in Berkeley, CA. I think that was around my 17th birthday. A note to myself inside the cassette case reads, "The sound first dwells in darker figures that sometimes inhabit dreams, then slowly lifts, collecting energy from harmony. The last is a sea of time, the atmospheric pillow." An almost Vangelis-like grandiose middle section was a rare departure for me. Until I got the Prophet 5 I could never attempt a sound like that.

A little story about this synthesizer: I was still 15 years old when I made friends with a college DJ named Rick Huber, who also worked at synth company Sequential Circuits. I wanted to start a band making noisy improvisations, so Rick introduced me to his co-worker Rick Davies. (We remained life-long friends, and made some rather embarrassing musical experiments with co-conspirator Jon Spencer.) Sequential's Prophet 5 was the first polyphonic synthesizer with digital memory, and it was very expensive in 1978. Unfortunately the first version of the Prophet was quite fragile and broke constantly, almost impossible to calibrate, and plagued by catastrophic component failures. Sequential offered an upgrade to their early customers, offering to exchange (for a fee) any Rev.1 Prophet 5 for an improved Rev.2. Then they sold the fragile Rev.1's to their employees (the only people who could keep them running) with a promise not to re-sell. The company never wanted to see them again. My friends at Sequential purchased a handful of these lemons, and kindly snuck one into my hands. Selene and Ether was one of the very first things I recorded with it.

Collage for Low Tones 18:35 1980

Recorded summer of 1980 direct to cassette, an improvisation with analog delay and Paia modular. I had completely forgotten about this recording until I started going through archives for this release.

I built the analog delay from a circuit board sold through Radio Shack, called the "Electronic Reverb" kit. Nineteen years later (1999) I began to get back into analog modular synths after meeting Paul Schreiber, who had recently started a new modular company called Synthesis Technology. As Paul and I became friends, I learned that he once worked for Tandy Corporation, designing kits for Radio Shack. Paul had in fact designed the analog delay kit that I used so heavily during these early years. The instructions suggested modifications to allow feedback into self-oscillation, and a switch to slow down the clock, creating a very grungy echo. These modifications turned the delay into a crazy oscillator, one of my main instruments for creating noisy pieces like this one.

Ghosts 8:42 1980

Inside the cassette box where I found this recording, my notes say: "Ghosts is a sound collage consisting of many layers of randomly tuned sinusoidal frequencies, whose amplitudes were also randomly chosen. The sound was inspired by multiple resonances of the wind through a certain cave in the Sierra foothills." I think I was being a bit coy, as it sounds to me like an improvisation with Prophet 5 and Paia modular synth using resonant filters imparting different pitches from a pink noise source.

Clouds 26:15 1983

I remember being quite happy with this drone improvisation when I recorded it, but I never officially released it because some other pieces around that time felt more like a breakthrough. Apparently I made cassette copies for a few people to hear, as I have seen pictures of handmade tapes with this on them, called simply "Modal Improvisation." This performance employs a resonant all-pass filter using a Curtis chip that I built onto a blank circuit board, responsible for the shimmering stepped tones of the low drone.

Nocturne 25:40 1983

I remember working for several weeks to prepare the elements for Nocturne. I did not have a multitrack recorder at the time, but I had two cassette decks and a reel-to-reel. I assembled extra layers onto cassette, in order to mix to 1/4" reel while performing live instruments. I remember this piece being much harder to create than others at the time, and it felt less satisfying to me when finished. The original tape is 40 minutes long, and I wanted it to feel completely calm and stable, yet slowly changing around the steady drone, a sort of infinite music, acting in a certain way upon the mind only when played for very long durations. Alas, in the thirty years since attempting this sort of trancelike effect in very slow music, my attention span has gotten shorter, and I am rather surprised to look back at my youthfully obsessive attention to microscopic details.

Live in Monterey CA September 15, 1983 25:30

These are the beginning and ending sections of a two hour ambient concert performed at an art exhibit opening by painter Todd Friedlander. Most of the performance consisted of nature recordings combined with very quiet drones. The closing section was an interpretation of the piece "Nocturne" that I had recorded the previous month, but that piece sounded different each time I played it.

Live at Stanford University CA, March 13 1984 25:27

This "concert" actually took place in my dorm room at the co-op house where I lived during my third and fourth years at university. I recorded most of Trances and Drones here (when I probably should have been studying.) My roommate Miguel Helft patiently tolerated my pile of electronics that cluttered the room. A few friends asked me if they could listen to me play, so I made this casual home concert for three or four people, and recorded it to my new Revox B77. The 90 minute recording turned out better than expected.

Early in my efforts to release my own music, I made friends with an ardent listener in Köping, Sweden named Hans Fahlberg. After he discovered my first release Sunyata, Hans began writing me letters with funny cartoon illustrations of laughing heads prancing around naked on tiny legs. After I released Trances and Drones, Hans wrote me asking if I had any unreleased music, as he wanted to start a cassette label. This would be his first release. I didn't feel that my earliest experiments were suitable, so I sent him edits of the two live recordings that appear here. These became Robert Rich Live, catalog 001 on Psychout Productions. Hans soon changed his label name to Multimood Records and released my first LP Numena, and many excellent albums by artists including Peter Frohmader, Roedelius, O Yuki Conjugate, Paul Schütze, Jeff Greinke, and others.

In the late 80s, the Freeman brothers in the U.K. replicated small quantities of Live and Inner Landscapes for their Auricle label. Among my early releases, Live was the only one that I did not remaster for CD, because I felt that it would not hold up to digital scrutiny. This vinyl version is the first official reprinting since those cassettes.

3A Guitar Drone 8-15 14:46 1983

I don't actually remember playing this. I discovered it while digging through the archives. I found several pieces from the summer of 1983, all untitled and described as "guitar drone" or "guitar rhythm." Most of them sound similar to each other. It appears I was aiming for a certain relationship between the echoed strumming and the cloudy loops made from brushing guitar strings lightly. I recorded two of those attempts to reel-reel tape, so I presume those were more "serious" or premeditated, while this version only shows up on a cassette master, like a practice version or an afterthought. Among the different attempts, this may be the most interesting, although perhaps not the highest fidelity.

CCRMA Voices 7:22 1984

This is one of the few computer compositions that I finished while taking the computer music course at Stanford's CCRMA, the Center for Computer Research in Music and Acoustics. It uses Bill Schottstaedt's PLA language to create a simple two-operator FM voice, with random pitch, duration and inflections within the range of a human voice.

Inner Landscapes Introduction 9:12 1985

This comes from a live concert performed in Berkeley, CA, later released as the 90 minute live cassette Inner Landscapes. In the late 1990s, Mike Griffin at Hypnos approached me about remastering some of my early work for CD. Inner Landscapes and Sunyata seemed worthy candidates at the time. I had to remove some material from Inner Landscapes to get it to fit onto CD. Except for this sequencer improvisation at the start, the remainder of that concert was deep and very slow; so I decided to cut this piece and keep the CD consistently deep and atmospheric. This intro remained an orphan until now.

Manna 17:15 1980

Here's another piece that I forgot about. It comes from the burst of recordings I made as soon as I got the Prophet 5 in 1980. This uses a patch technique called "random arpeggio" where each voice fades in and out at different rates by its own modulations, sounding a bit like tape loops. The bleepy tones come from the Paia modular, with tape echo adding its telltale warble.

Robert Rich @ 2007 Nearfest

This historical artifact offers a rare glimpse at an ambient master's earliest work, composed using his first synthesizers at the age of 17 while attending Stanford University. In his Interview For Ambient Visions in January of 2005 Rich described how, at the age of 13, he used his savings from two years of paper routes and gardening money to purchase and construct PAiA modular synths, and eventually graduated to a Revox B77 half-track 1/4" reel-to-reel, a pawn shop lap steel guitar, and a Sequential Prophet 5 rev 1. In the interview Rich states that he began to experiment with alternate tunings as he was inspired by Harry Partch and Terry Riley. The recordings from this set explore Rich's development as an artist during this pivotal period.

How could I pass it up?

08-18-2019, 05:48 PM	#755 (permalink)
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