It probably comes as no surprise to my listeners that the pace of new music released here has slowed considerably the past several years. Part of this has to do with the fact that I am no longer a student, and am instead a professional building up skills, clients, and my own practice in the next phase of developing my career. That isn’t to say that I’m apart from music altogether; along with my paid work, one of my other major projects is being part of a team that’s trying to start up a new community radio station from scratch (you can check it out at https://ksqd.org, a website which I’m quite involved in, as I’m the station’s web coordinator). Put both of those together, and my time for working on other creative projects has been… fragmented, at best. I’m still making music, still picking up new and interesting experimental tools to play around with here and there, but mostly I’ve ended up working on small, quick experiments rather than the sorts of full-on tracks I’ve worked on in the past.
So, for your listening… “enjoyment,” the following is a selection of the (more interesting) sound clips I’ve whipped up in 2018:
First up, a potential ringtone of a sort:
Then, an experiment with creating a… different type of noise:
A crinking experimental… something that may or may not be a tribute to Xenakis:
Some experimentation with running patterns through radical effects:
And some slightly eerie tonal granularization:
As you may know, one of the things I like to do are field recordings and sampling of unusual potential instruments. While it’s true that the standard plastic fidget spinners don’t make a whole lot of interesting sounds (unless you like slightly clattering plastic), metal fidget spinners can spin fast enough to create some interesting wind/propeller effects, along with interesting metal ringing sounds as the spinning metal part tends to resonate at a certain frequency (this is especially true of stainless steel ones, which create an effect not entirely unlike a tuning fork or a singing bowl). Also the metal ones provide enough inertia that they can produce interesting audio with a loose or dirty bearing, allowing for some interesting mechanical grinding and wobbling timbres.
I’m considering doing another free sample pack using some metal spinners that I’ve come across here and there (recorded with my field recorder, so probably not studio quality, but useful to do things with in experimental music nonetheless). In the meantime, though, here’s a track that’s basically recordings of a few different metal spinners, processed through some glitch and granular effects to create an interesting little sonic noise-scape:
A quick experimental sketch, sort of a techno-themed piece. I wanted to do something playing off of some atmospheric noise sounds generated by Noisetar, which is a fascinating synth based entirely around digitally-generated noise rather than traditional oscillators (it’s available for free, in case you’re interested in playing around with it yourself). I used it to create the sort of noise background that the other sounds rise up from. Ultimately, I like the way it sounds as is (I like sticking it in my music player and playing it on continuous loop while I’m working on stuff, with the noise intro/outro it loops quite well), but I’m still thinking about adding in a few things to it and making it into more of a feature-length track.
I’m not sure why, but I wanted to make something both painfully chaotic and relatively synchronized. Luckily, there happens to be an app for that, and it’s called BitWiz, a unusual program that essentially lets you program in a mathematical formula, and it will turn it into very intense digital-sounding noises. The underlying sound in the track was generated from a modification to one of the preset sequences, further disassembled with some Sonic Charge effects, accompanied by some of my favorite Reaktor ensembles until I got the level of sound I was looking for.
The result is… marginally listenable, but for some reason I really like it. Listening to it makes me feel… synchronized, somehow, especially when I put it on loop. Although I can’t listen to it for too long because then my ears start to hurt…
Also, the title was originally going to be Kabang for some arbitrary reason, but then I removed the G for an even more arbitrary reason. The removal, however, does not appear to objectively affect the sound quality.
Step 1: Take the glass top to a corningware dish and spin it upside-down on a tile countertop.
Step 2: Record the oscillating glass noise.
Step 3: Experiment with the clip using various forms of granular synthesis, gating, extreme filter and delay warping, hyper-driven amps, and other fun stuff.
Step 4: Wobble Grind (Maximal) Wobble Grind (Minimal)
Oh yeah, warning: there’s a reason this one’s tagged “earbleed.” Some of the extreme driving produced some unusual side effects that are very shrill in pitch, so you may want to carefully moderate your volume when listening (or listen to the “minimal” version on the right, which has less of the especially hard programming).