The project involved
OF SOUND
A SERIES
Ordinary Binary Soul
PEOCTAT
Pryder
Psychotic Dreams
Ryeshta
samelectronics
Smart Bruce
Sogoyan_Arsen
Sophia_s Library
sybe
The Coast Ghost
The Great Experiment
The Void Wanderer
timur khurramov
WaNA
Whalehead
xOSC
[TYRUM]
Алексей Курашов
ИNTON MORE
Киноварь и Лазурь
Природный трио
acanthostega
andyside
Animal Strange Dolls
applecore
Ashuoca
broken tape recorder
COLD WATER REE
deathtwelve
Deepseasons
Dilatory Destruction
DX2DX
Ens Dormir
fictiveDS
Five elements music
fly Dying
Fm Outt
fshs
hoar
Indu Mezu
Interior Disposition
Karner Red
Kreazot-Maks
KS.Optionica
Lana Soft
Mauko
Memory Overlap
MORFINNG
nowaytolisten
Optionica
COLLAGES
V.3
Under the control of classical randomness
We use controlled randomness - we allow variable relationships between collage elements, as well as uncertainty or random sequence of these elements when writing the score and assembly. We do not act on the basis of pure chance, but have a choice of parameters and a range of effects on them.
In the vast world of modern music, there is a direction in which chance becomes a co—author of a work - this is aleatorics. Randomness is introduced into the process of writing and/or performing a piece of music. The name of the term comes from the word “alea” (Latin), which means “dice” or “chance"
In aleatoric compositions, some details of the work are left open: tempo, dynamics, tonality, the order of events or the choice of notes. This is the opposite of standard practices, where all the elements of execution are specified as accurately as possible.
CHANCE
AND SIGNIFICANCE
Fonbient is a project dedicated to sound experiments.

At the moment, the task of the project is to use randomness as one of the tools and combine the sounds provided by the authors to get unique and unpredictable results in the form of complex audio collages.

THE MAIN IDEA
OF THE FONBIENT PROJECT
Aleatorics gives authors the opportunity to move away from strict structures and allows them to experiment with form, content and execution. Performers are also given more freedom for interpretation and have a chance to contribute to the creative process. Aleatorics can reflect the composer's philosophical views, emphasizing the influence of chance and uncertainty in the creative process.
Authors can use aleatorics to explore new sound possibilities and combinations that may be rejected in ordered works.
The composer is required to let go of some of the control over the composition and allow randomness to contribute to the final results. This is, in a way, a release for a more creative approach.
Each performance of an aleatoric piece is unique, which makes live performances more interesting and unpredictable for both the listener and the performers.
Uniqueness
Freedom
Research
1st milestone. A parade of sounds

Absolutely all samples are played for the full duration, without changing parameters, in three layers.

The sequence was determined using a random number generator.
After that, the sounds were grouped into a table.
To listen
2nd milestone. Part 1

The milestone contains one complete cycle of 11 phrases, each of which is divided into 30 equal segments (it can be seconds, minutes, divisions of the sequencer grid, etc.). It is these segments that measure the duration of the sample.
Phrases are a closed event - the transition of sounds to the next phrase is not provided at this stage.
Randomness affects the following parameters:

p = tonality (from -12 semitones to 0)
d = sample duration (from 1 to 6 time intervals). If the sound is shorter than the dropped duration, it is played again.
R = reverse
x = pause or inability to play the layer. The length of the pauses is generated individually for each phrase. There is a possibility of alternating the number of layers from 2 to 4.

It is necessary to understand that this method of selection, calculation, recording and designation of parameters is not the only correct one.
2-nd milestone. Part 2

This milestone is built by analogy with the previous one, but contains one complete cycle of 12 phrases.

Phrases are a closed event - the transition of sounds to the next phrase is not provided.
listen
listen
listen
Everyone can make their own version of a random collage.

This is a link to the archive with sounds for the third version of the collage:
MATERIALS
Documents
with calculated tables:

1st milestone. A parade of sounds.
look

2nd milestone. Part 1
look

2-nd milestone. Part 2
look
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.

Sergey also led 2 labels still*sleep and semperflorens.

Recently, the Intuitive Sound Environment has been leading the channel.
PROJECT
LEADERS
lya 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].
Made on
Tilda