Under the control of classical randomness

The project involved

Accasari
Aidan Baker
Artificial Memory Trace
If, Bwana
Onculut
Chris Whitehead
Dante Tanzi
David Lee Myers
Exit in grey

Light Collapse
Hum
Bardoseneticcube
Сisfinitum
Krugom16
Noises of Russia
Shumy Tomi

Fm Outt
Modelbau
Interior Disposition
Hladna
John Grzinich
July in January
Jum - jum
Kryptogen rundfunk
Neznamo

The site is dedicated to creating sound canvases and collages using “controlled randomness".

The unusual technique aroused our genuine interest and became the basis for creating the concept.

We are pleased to invite you to get acquainted with the result expressed in the audio episodes that we have prepared.

A unique environment that is always expressed in a new way, without changing its content.
To get a noticeable variation, we invited familiar musicians to participate and collected a large library of samples.

Each sample carries a particle of an idea. It represents a reflection of the inner world of a person, his message, fragments of the surrounding acoustic environment and a conscious consequence of the choice resonating with him at that moment.

Under the influence of probability, everything merges into a stream and becomes a unique element of audio architecture.

We have an open project. Everyone can freely use the sample package and diagrams.

Try to develop your techniques and turn the source material into something new and special.

1st milestone. "Parade of sounds"

At this stage, samples are played for full duration, without changing parameters, in three layers.

A sequence was created using a random number generator.
After that, the sounds were grouped into tables.

2nd milestone. "Cycle_LoopDecay"

Definitions of “cycle" and “phrase" are introduced.

Modifiable parameters are added:
p = tonality (from -12 semitones to +12)
d = sample duration (from 2 to 10 time intervals)
~ transition to the next phrase
~ transition from the previous phrase

And there was a possibility of alternating the number of layers from 2 to 3.

It is also possible to throw in the length of pauses between samples and looping.
A milestone can contain from one or more cycles. In this case, the number 1 has fallen out, so the milestone contains one complete cycle.

The cycle is divided into phrases. The number of phrases depends on the drop-down values of the duration of the sound and the pauses between them. We got 10 phrases.

The phrase is divided into 30 equal segments. These can be seconds, minutes, sequencer grid divisions, etc. It is these segments that measure the duration of the sample sound.

6. acanthostega - Experiment 6 - aleatoric regress

The experimental drone/noise/post-industrial project from Russia acanthostega presents to you its vision of working with the material collected for the first series of sound collages. 97 sounds from 131 were selected. The composition is built in three layers, as follows:

Layer 1: Sounds are sampled randomly, according to a simple rhythmic pattern - at a rate of 240 samples per minute. Each sample sounds for 1.77 seconds, with a natural attenuation of the amplitude.

Layer 2: Sounds are sampled at a rate of 60 samples per minute. At the same time, samples are played backwards. The attenuation time of each fragment is 3.83 seconds. If the sample is shorter, it is played back and forth.

Layer 3: Sampling sounds at a rate of 480 samples per minute. The attenuation time of each fragment is 1.26 seconds. The frequency of each sample is modulated by a descending sawtooth lfo at a speed of 8 Hz. Also, in the process, some elements were controlled manually: switching tracks on/off, randomness mode (either random sampling or alternately forward), sample sampling range (width and reference point), as well as the probability of triggering triggers. Of the effects, only a small amount of reverberation was used on one track. (c)

In our sound work, we adhere to methods that lead us to the past with their roots - this is a musical dice game known in different parts of the world, experiments with randomness in the music of John Cage, mathematical calculations for the music of Boulez, Stockhausen and Xenakis, the music of noise by Luigi Russolo.

These cultural phenomena greatly inspire us, allow us to find support for our own realization in this.

It is difficult to combine all the phenomena in one introductory text. That's why we decided to single out John Cage and Luigi Russolo. They determine our work and the result obtained in the greatest sense.

for divination, which consists of 64 hexagrams. In the West, it is known as the "Book of Changes".

John takes fortune—telling according to the "I Ching" system as the basis of his compositional practice, asking the text questions concerning any aspects of the composition - sound parameters, structure, the ratio of parts of the composition.
John explained to those interested:
"As a rule, those who believe that I am interested in randomness do not understand that I consider randomness as a discipline. They think that randomness for me is such a way to refuse to choose. But for me, the choice is the choice of the question that should be asked."

John Cage is an American composer, philosopher, poet, musicologist, and artist.
Pioneer in the field of aleatorics, electronic music, non-standard use of musical instruments.

In the 1950s, he began to interact with the "I Ching". This is a Chinese philosophical text intended

"I do not give freedom to do what my heart desires, but on the contrary, I offer performers the opportunity to free themselves from their likes and dislikes, to focus internally."

Luigi Russolo is an Italian artist, composer and poet of the futuristic trend.

In 1913, he wrote a manifesto, which is in the form of a letter addressed to Francesco Balilla Pratella. In the manifesto letter "The Art of Noise", Russolo connects musical evolution with the multiplication of the number of cars, drawing attention to the fact that it is not only about large cities. Outside the city limits, the abundance of cars entailed such a polyphony of noises that "pure sound, with its insignificance and monotony, no longer evokes any feelings." Music develops in the direction of complex polyphonies, in order to evoke feelings, and, what is especially noted, in order to prepare for the creation of musical noise. Those articulations of sounds that would seem to a person from the XVIII

century egregious and objectionable to listen to, for a modern person may seem acceptable and even boring. According to the way life is filled with noise, a modern person needs "a greater variety of acoustic excitations" in order not to remain indifferent to music.

Russolo wrote:

"We futurists deeply loved the harmonies of the great masters and enjoyed them. Over the years, Beethoven and Wagner have shaken our hearts and tickled our nerves. Now we are jaded and find more pleasure in the combination of the sounds of trams, carburetor engines, carriages and noisy crowds than at a rehearsal, for example, "Heroic" or "Pastoral". "

Speaking simply and without strong immersion, at the junction of these ideas, we created our project. This is a sound collage, which is built by the method of random loss of these sound parameters and a combination of recorded sounds, kindly provided by our friends and kindred spirits.

Ilya Barmin is an electronic computer musician from Novosibirsk.

His Fm Outt project ranges from smooth downtempo to
cosmic microfunk. Builds compositions based on blurred melodic textures in collaboration with a broken rhythm. His tracks have repeatedly become members of compilations and podcasts both in Russia and abroad.

He is working on a side project INTON MORE, which is a mixture of dark ambient and glitch.

One of the authors and curator of a small closed community of experimental music - oblako 8.
In collaboration with the community, collections have been released:
"Sound Canvas, Issue #1",
"gabber deconstructed oblako 8",
"Audio_portret",
"Concept_pack_oblako_8"
and [troposphere].

Sergey also led 2 labels still*sleep and semperflorens.

Recently, the Intuitive Sound Environment has been leading the channel.

Sergey Sukhovik is an audio artist and designer from the Moscow region. Since 2000 he has been engaged in electronic and intuitive sound.

Combines analog and digital technologies in his work. The author has a large library of sound canvases from his projects exit in grey, ion and sophus, five elements music, sister loolomie, radioson, etc.