Fabio Keiner
PunksTapes
Природный трио
Гербарий
ИNTON MORE
Nimbostrata
Animal Strange Dolls
Хранитель Живого Звука
NK x
audiodefectwave
Optionica
Ego Ex Nihil
Nervöse Leute
Ens Dormir
S.A.M.
Реостат
PunksTapes
Природный трио
Гербарий
ИNTON MORE
Nimbostrata
Animal Strange Dolls
Хранитель Живого Звука
NK x
audiodefectwave
Optionica
Ego Ex Nihil
Nervöse Leute
Ens Dormir
S.A.M.
Реостат
Andrey Pobem
Мои Спутники Земли
Me and Kodokushi
Алексей Курашов
ЛЮДИ НА ЛЬДУ
SADKO
nowaytolisten
ОПЫТПЕРЕВЁРНУТОГОСОЗНАНИЯ
GeorgyOrlovDavydovsky
fictiveDS
wd_shae
POLYGONIA
Weightlessness V/S
Homeland of Rain
s-u-nDOWN
Interior Disposition
Мои Спутники Земли
Me and Kodokushi
Алексей Курашов
ЛЮДИ НА ЛЬДУ
SADKO
nowaytolisten
ОПЫТПЕРЕВЁРНУТОГОСОЗНАНИЯ
GeorgyOrlovDavydovsky
fictiveDS
wd_shae
POLYGONIA
Weightlessness V/S
Homeland of Rain
s-u-nDOWN
Interior Disposition
Взгляд Исчезающего
zll'
Indu Mezu
Silent eXperiment
WaNA
DISORDER & ORDER
Киноварь и Лазурь
Peopalop
Hromas 7 (Мицелий)
RAZMOTCHIKI KATUSHEK
Виталий Маклаков
Sister loolomie
Kreazot-Maks
ΛNDYƧIDΣ
Applecore
zll'
Indu Mezu
Silent eXperiment
WaNA
DISORDER & ORDER
Киноварь и Лазурь
Peopalop
Hromas 7 (Мицелий)
RAZMOTCHIKI KATUSHEK
Виталий Маклаков
Sister loolomie
Kreazot-Maks
ΛNDYƧIDΣ
Applecore
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.
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.
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.
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.
ABOUT
THE PROJECT
THE PROJECT
1st milestone. A parade of sounds.
Absolutely all samples are played for the full duration, without changing parameters, in three (sometimes four) layers.
The sequence was determined using a random number generator.
After that, the sounds were grouped into a table.
Absolutely all samples are played for the full duration, without changing parameters, in three (sometimes four) layers.
The sequence was determined using a random number generator.
After that, the sounds were grouped into a table.
2nd milestone.
The milestone contains one complete cycle of 25 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)
The milestone contains one complete cycle of 25 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 3.
It is necessary to understand that this method of selection, calculation, recording and designation of parameters is not the only correct one.
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 3.
It is necessary to understand that this method of selection, calculation, recording and designation of parameters is not the only correct one.
3-rd milestone.
This milestone is built by analogy with the previous one, but contains one complete cycle of 16 phrases.
Phrases are a closed event - the transition of sounds to the next phrase is not provided.
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 presence of pauses is minimized and their length is generated individually only for the 4th and 5th phrases. There is a possibility of alternating the number of layers from 2 to 3.
This milestone is built by analogy with the previous one, but contains one complete cycle of 16 phrases.
Phrases are a closed event - the transition of sounds to the next phrase is not provided.
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 presence of pauses is minimized and their length is generated individually only for the 4th and 5th phrases. There is a possibility of alternating the number of layers from 2 to 3.
Ens Dormir
All sounds were placed in an array and random variants were programmatically selected from them.
After going through several stages of sorting, they were collected into one track and processed.
With the help of the code, the spectrogram was changed by randomly dropped values. The code is implemented in the python programming language.
By means of the algorithm, all samples, in random order, were translated into images and binary representations of colors were inverted into reverse codes. They were also edited in Photoshop using a brush and filters, superimposed in several layers on top of each other.
This was followed by a reverse translation into sound and an overlay on the main track.
Four copies were made to apply different types of processing to each.
The individual layers were processed with a reverb, distortion effect, several types of filters, the use of feedback and combined into the final track.
All sounds were placed in an array and random variants were programmatically selected from them.
After going through several stages of sorting, they were collected into one track and processed.
With the help of the code, the spectrogram was changed by randomly dropped values. The code is implemented in the python programming language.
By means of the algorithm, all samples, in random order, were translated into images and binary representations of colors were inverted into reverse codes. They were also edited in Photoshop using a brush and filters, superimposed in several layers on top of each other.
This was followed by a reverse translation into sound and an overlay on the main track.
Four copies were made to apply different types of processing to each.
The individual layers were processed with a reverb, distortion effect, several types of filters, the use of feedback and combined into the final track.
Applecore
The project is built using plugins built into Ableton and Max For Live, as well as several vst from Fabfilter.
Some of the sounds are conventionally divided into groups formed into four tracks: percussion, effects, noises and voices. Another track is separately occupied by sound that is not included in the groups. The remaining sounds are placed in three granular synthesizers.
Next comes the work with effects. The feedback network plugin was output to two tracks, which randomly converts the sound into a constantly changing loop.
Two more delay effects were used on two tracks and randomization of their parameters was configured using the device randomizer plugin.
On tracks where granular synthesis was used, random changes were introduced using device randomizer, indicating the randomization of the beginning and end of loop playback. The midi contains repeating notes, but with the help of the chance note plugin, changes were constantly being made. Also, with the help of device randomizer, changes in filtering and delay parameters were configured.
This ensures that new results are obtained with each playback.
The project is built using plugins built into Ableton and Max For Live, as well as several vst from Fabfilter.
Some of the sounds are conventionally divided into groups formed into four tracks: percussion, effects, noises and voices. Another track is separately occupied by sound that is not included in the groups. The remaining sounds are placed in three granular synthesizers.
Next comes the work with effects. The feedback network plugin was output to two tracks, which randomly converts the sound into a constantly changing loop.
Two more delay effects were used on two tracks and randomization of their parameters was configured using the device randomizer plugin.
On tracks where granular synthesis was used, random changes were introduced using device randomizer, indicating the randomization of the beginning and end of loop playback. The midi contains repeating notes, but with the help of the chance note plugin, changes were constantly being made. Also, with the help of device randomizer, changes in filtering and delay parameters were configured.
This ensures that new results are obtained with each playback.
s-u-nDOWN
1) Distribution of samples by category.
I would like to make a reservation right away that the distribution is subjective and was based on associative thinking. But there are also precise selection criteria (sound time, pitch, rhythmic and melodic component, etc.).
Thus, the sounds are divided into the following categories:
1) Atmospheric: industrial sounds, cyber, nature, long pedals, city, man, radio, long sounds.
2) High: glitch, drone, melody, rhythm.
3) Medium: glitch, drone, melody.
4) Low: drone, rhythm and melody.
5) Rhythmic: bass, medium, high, percussion.
6) Short: high, medium, low, glitch, kick.
Each sound was assigned an ordinal number.
2) The distribution of sounds by layers.
Layers are formed by categories. There are three layers in each category. The distribution takes place using a randomizer. A range is entered into the random number generator: from the first ordinal number to the last. This action is performed in turn with each subcategory. The dropped sound is assigned an ordinal number again, which will reflect the order of appearance in the collage. Sounds can be repeated repeatedly.
The first distribution is on the "Atmosphere" layer. For example: the first random lot starts with the subcategory "Industrial", and one sound is selected, the next in the category "Cyber" and so on, until there are 56 samples in each layer. (56*3=168). The remaining 2 sounds are scattered randomly in the range 1-3.
1) Distribution of samples by category.
I would like to make a reservation right away that the distribution is subjective and was based on associative thinking. But there are also precise selection criteria (sound time, pitch, rhythmic and melodic component, etc.).
Thus, the sounds are divided into the following categories:
1) Atmospheric: industrial sounds, cyber, nature, long pedals, city, man, radio, long sounds.
2) High: glitch, drone, melody, rhythm.
3) Medium: glitch, drone, melody.
4) Low: drone, rhythm and melody.
5) Rhythmic: bass, medium, high, percussion.
6) Short: high, medium, low, glitch, kick.
Each sound was assigned an ordinal number.
2) The distribution of sounds by layers.
Layers are formed by categories. There are three layers in each category. The distribution takes place using a randomizer. A range is entered into the random number generator: from the first ordinal number to the last. This action is performed in turn with each subcategory. The dropped sound is assigned an ordinal number again, which will reflect the order of appearance in the collage. Sounds can be repeated repeatedly.
The first distribution is on the "Atmosphere" layer. For example: the first random lot starts with the subcategory "Industrial", and one sound is selected, the next in the category "Cyber" and so on, until there are 56 samples in each layer. (56*3=168). The remaining 2 sounds are scattered randomly in the range 1-3.
TO LISTEN
The 3rd, 7th, 12th phrases show a more static sound and were generated according to a different scheme. The term nodd is introduced - the number of separations by duration. The layer is divided into equal segments, the size of which is determined randomly - by dropping a certain numerical value.
nodd 1 = 30:1= 30
nodd 2 = 30:2= 15
nodd 3 = 30:3= 10
nodd 4 = 30:5= 6
nodd 5 = 30:6= 5
nodd 6 = 30:10= 3
nodd 7 = 30:15= 2
nodd 8 = 30:30= 1
nodd, whose value is 1, 2, 3, implies a physical stretching of the sound, since the duration of the sounds is less than these values.
nodd 1 = 30:1= 30
nodd 2 = 30:2= 15
nodd 3 = 30:3= 10
nodd 4 = 30:5= 6
nodd 5 = 30:6= 5
nodd 6 = 30:10= 3
nodd 7 = 30:15= 2
nodd 8 = 30:30= 1
nodd, whose value is 1, 2, 3, implies a physical stretching of the sound, since the duration of the sounds is less than these values.
3) Loading samples into the program, according to the order.
The overall tempo of the track is 60 BPM. Samples were loaded in layers, starting with the "Atmosphere" layer. They were taken as the basis of the entire collage. There are three audio tracks for each one. The sounds are loaded in the order determined by random, but they are arranged in different configurations along the tracks. It can be simultaneous sounding of tracks, alternately, only 2 tracks, only one, staggered, through the beat, etc. The placement of samples on the tracks changed every 12 bars. The finished collage sounds 223 bars.
After creating 3 layers, a random was used to distribute the sounds of the "Low" category. The range of random numbers was 1-223. the number that fell out showed the clock on which the sample should have been located. This method was chosen because the number of sounds in this category is much smaller than the others and it is difficult to distribute them randomly throughout the project. Also, most of the low samples are short in sound time and they are more suitable for small inserts. If a random number fell on an already occupied track cell, the number generation was repeated.
The method of distribution by beats using random was also applied in the category "Rhythmic", in the subcategory "Bass". The clock range was taken from 1-223.
In the subcategory "High" samples were located every 20 clock cycles. The subcategory "Percussion" was scattered around the track, as well as "Bass" with the help of random. This is due to a small number of samples. The sounds with an average sound are located every 14 bars, starting from the 14th.
The rest of the sounds were distributed either strictly after a few bars, or manually, to fill in the pauses in the collage. At the same time, the order of the appearance of sounds was observed and preliminary listening and sound selection were excluded.
In the "High" category, the sounds were distributed either manually or by random, as well as by calculating the intervals between bars.
The overall tempo of the track is 60 BPM. Samples were loaded in layers, starting with the "Atmosphere" layer. They were taken as the basis of the entire collage. There are three audio tracks for each one. The sounds are loaded in the order determined by random, but they are arranged in different configurations along the tracks. It can be simultaneous sounding of tracks, alternately, only 2 tracks, only one, staggered, through the beat, etc. The placement of samples on the tracks changed every 12 bars. The finished collage sounds 223 bars.
After creating 3 layers, a random was used to distribute the sounds of the "Low" category. The range of random numbers was 1-223. the number that fell out showed the clock on which the sample should have been located. This method was chosen because the number of sounds in this category is much smaller than the others and it is difficult to distribute them randomly throughout the project. Also, most of the low samples are short in sound time and they are more suitable for small inserts. If a random number fell on an already occupied track cell, the number generation was repeated.
The method of distribution by beats using random was also applied in the category "Rhythmic", in the subcategory "Bass". The clock range was taken from 1-223.
In the subcategory "High" samples were located every 20 clock cycles. The subcategory "Percussion" was scattered around the track, as well as "Bass" with the help of random. This is due to a small number of samples. The sounds with an average sound are located every 14 bars, starting from the 14th.
The rest of the sounds were distributed either strictly after a few bars, or manually, to fill in the pauses in the collage. At the same time, the order of the appearance of sounds was observed and preliminary listening and sound selection were excluded.
In the "High" category, the sounds were distributed either manually or by random, as well as by calculating the intervals between bars.
4) Processing of collage layers.
To determine which effect or treatment to apply to the layer, the randomness method was used. For this purpose, outsiders who are not related to the creation of the collage were involved. They were asked to choose several actions with 6 tracks. The choice was made blindly. For this purpose, the effects were selected:
Maximum reverberation
Maximum overload
Reverse
Increase the layer by 0.5 tones
Decrease by 1 tone
Delay Average
Bitcrusher
Metallizer
Octaver
Saturation
Chorus
Tremolo
Vibrato
Vinyl
Equalizer
Enigma
AMP Simulator
Rotary
Panning:
Centered
On the right
Leftward
Floating
Each track of the collage is saved separately in WAV format and uploaded to a new project for processing.
5) Post-processing.
Post-processing is carried out over the general mix. The processing effects are also selected by third-party people. The total number of selected effects is 6. 3 effects are used for processing.
Selected Effects:
Reverb
Overload
Tremolo
Vibrato
Metallizer
Amp simulator.
All effects are set to average values.
For the final processing were used: metallizer, tremolo and overload
To determine which effect or treatment to apply to the layer, the randomness method was used. For this purpose, outsiders who are not related to the creation of the collage were involved. They were asked to choose several actions with 6 tracks. The choice was made blindly. For this purpose, the effects were selected:
Maximum reverberation
Maximum overload
Reverse
Increase the layer by 0.5 tones
Decrease by 1 tone
Delay Average
Bitcrusher
Metallizer
Octaver
Saturation
Chorus
Tremolo
Vibrato
Vinyl
Equalizer
Enigma
AMP Simulator
Rotary
Panning:
Centered
On the right
Leftward
Floating
Each track of the collage is saved separately in WAV format and uploaded to a new project for processing.
5) Post-processing.
Post-processing is carried out over the general mix. The processing effects are also selected by third-party people. The total number of selected effects is 6. 3 effects are used for processing.
Selected Effects:
Reverb
Overload
Tremolo
Vibrato
Metallizer
Amp simulator.
All effects are set to average values.
For the final processing were used: metallizer, tremolo and overload
The video was created under the influence of the aleatoric state.
According to the precepts of the Polish composer Witold Lutoslawski, there are two ways of management:
aleatorics of the creative process and aleatorics of the performing process.
In most cases, both methods are combined.
I created a visual and creative process, and the participants of the sound collage of the Fonbient project
created a polytonal picture of minimalism and dodecaphony.
РЕОСТАТ:
https://vk.com/peoctat
According to the precepts of the Polish composer Witold Lutoslawski, there are two ways of management:
aleatorics of the creative process and aleatorics of the performing process.
In most cases, both methods are combined.
I created a visual and creative process, and the participants of the sound collage of the Fonbient project
created a polytonal picture of minimalism and dodecaphony.
РЕОСТАТ:
https://vk.com/peoctat
VIDEO
When assembling our sound collages, we use techniques based on ALEATORICS.
The element of randomness is introduced in various ways and at various stages.
The construction of a composition (collage, in our case) can occur by drawing lots, throwing dice (hence the origin of the name), using a random number generator, tossing coins, based on the moves of a chess game, splashing ink on music paper, etc.
The influence of randomness (both when writing and when performing) can spread changes in the shape of the piece (rearrangement of its parts) and elements of the musical fabric (harmony, techniques of playing musical instruments, playback speed, etc.).
The element of randomness is introduced in various ways and at various stages.
The construction of a composition (collage, in our case) can occur by drawing lots, throwing dice (hence the origin of the name), using a random number generator, tossing coins, based on the moves of a chess game, splashing ink on music paper, etc.
The influence of randomness (both when writing and when performing) can spread changes in the shape of the piece (rearrangement of its parts) and elements of the musical fabric (harmony, techniques of playing musical instruments, playback speed, etc.).
HISTORY
This also includes experiments with graphic notation and instructions for performance.
Such "scores" often become an independent art form.
This technique can be seen as an opportunity to discard the usual patterns of thinking ("what can, not what should happen") and as a key to finding new solutions.
The paradox lies in the fact that by imposing certain "restrictions" on himself (or performers), the author receives the greatest number of freedoms than with the usual techniques of writing (or performing).
Constant movement and changes lead to an expansion of the number of options for the occurrence of certain events. This is the creation of your own conditions, rules, laws and space.
Such "scores" often become an independent art form.
This technique can be seen as an opportunity to discard the usual patterns of thinking ("what can, not what should happen") and as a key to finding new solutions.
The paradox lies in the fact that by imposing certain "restrictions" on himself (or performers), the author receives the greatest number of freedoms than with the usual techniques of writing (or performing).
Constant movement and changes lead to an expansion of the number of options for the occurrence of certain events. This is the creation of your own conditions, rules, laws and space.
Many factors and events can be considered historical prerequisites for the emergence of this trend.
Starting from improvisation practices and ending with popular musical dice games in the XVIII-XIX centuries. At all times there were composers who were in search of new solutions.
But great attention to aleatorics arose in the twentieth century. After all, it was during this period that the beginning of new and most important stages in the development of mankind in the fields of art and technology occurred, which in turn led to an increase in the number of alternatives and freedom of action.
Starting from improvisation practices and ending with popular musical dice games in the XVIII-XIX centuries. At all times there were composers who were in search of new solutions.
But great attention to aleatorics arose in the twentieth century. After all, it was during this period that the beginning of new and most important stages in the development of mankind in the fields of art and technology occurred, which in turn led to an increase in the number of alternatives and freedom of action.
There is still a lot of controversy, as well as around the term itself, the history of the current and the relationship of this technique to music.
In the usual sense, compositions written using the principle of randomness can not always be attributed to this kind of art.
In turn, it is more convenient for us to use the terms "sound collage", "experiments with audio fragments", excluding all hints of musicality at this stage of experiments.
In the usual sense, compositions written using the principle of randomness can not always be attributed to this kind of art.
In turn, it is more convenient for us to use the terms "sound collage", "experiments with audio fragments", excluding all hints of musicality at this stage of experiments.
The following are examples of techniques related in one way or another to aleatoric principles (source "Aleatorics as a principle of composition", author M.Pereverzeva):
the method of random actions and the principle of Cage's indeterminism;
the idea of sound independence and Feldman's inaccurate notation;
Wolfe's prompting method; the principle of the mobile and Brown's open form;
musical mobiles of Brown, Carlins, Cardew, Pousser, Tremblay, Foster, Haubenstock-Ramati, Czerny, Eckhardt-Gramate, etc.;
stochastic composition of Hiller and Xenakis;
variable and multivalued Stockhausen moment forms;
randomness within the framework of Boulez's constructive idea;
improvised, graphic and verbal scores, musical games, etc.
the method of random actions and the principle of Cage's indeterminism;
the idea of sound independence and Feldman's inaccurate notation;
Wolfe's prompting method; the principle of the mobile and Brown's open form;
musical mobiles of Brown, Carlins, Cardew, Pousser, Tremblay, Foster, Haubenstock-Ramati, Czerny, Eckhardt-Gramate, etc.;
stochastic composition of Hiller and Xenakis;
variable and multivalued Stockhausen moment forms;
randomness within the framework of Boulez's constructive idea;
improvised, graphic and verbal scores, musical games, etc.
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.
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.
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].
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 Sukhovik is an audio artist and designer from the Moscow region.
PROJECT
HOSTS
HOSTS
