Yahoo Tuning Groups Ultimate Backup tuning Re: [tuning] Digest Number 1263

At 07:44 4/28/01 +0000, you wrote:
>OK Kurt, Catharsis, Mary, Dan, David, Kraig(!) and all my dear
>friends; I've uploaded a new Drums-n-Bass tune in the 2nd Schumann
>Resonance Tuning to our files section for you to check out. Let's
>JAM!!!

Right!

Just want to drop a note in that I enjoyed the recent Microfest (good job Bill!). It really gave me a glimpse into the history that is often over looked in other mainstream accounts of modern music (just finished reading Joel Chadabe's Electric Sound and Partch was mentioned very briefly). I really liked the emphasis on the "hobo lifestyle" found in the Partch short movie (and his bio/story). It is not often that you see acoustic performances of custom instruments. I liked it a lot. It was also good to get a gauge on this lists participants as well! I can learn a lot here. I will definitely be submitting recordings and perhaps even a request to perform live next year.

I like the D&B track Jacky; keep it up. My roommate is an atmospheric D&B DJ so I hear a lot of it. Yes, D&B is a good wrapper for alternate tuning; especially the atmospheric stuff. We will have to make some tracks. I am helping my roommate produce D&B; he is really taking off on his own now (he probably won't be studying tuning anytime soon; sometimes it is good to follow the heart).

I would like to post a link to my first electronic piece that I created last June prior to my "conscious" knowledge of microtonality. When you are dealing with electronic instruments and audio (as compared to midi; unless you tune the instrument) you often get a lot of tones/timbres outside of 12TET. Using a filter or anything that can modulate a source is a good example (of course you can get midi controlled filters; etc. not to mention all the voltage control/midi gear). I might add that I have learned so much since this recording that I am a little hesitant to post it, but I like it.

By the way I was accepted to study at the CCMix studio (http://www.upic.asso.fr/) this July in Paris (going to be broke and need a loan; but it will be worth it). I don't mind posting the above track as I used it for demo material: http://www.egregious.net/~catharsis/tracks/tones.mp3

I also sent a DJ mix compilation (Live March 7th; www.egregious.net/comps) hinting that if they did not accept it as music I was not interested in attending. I'm attending, and am excited about this opportunity as I will be meeting several top researcher of the computer music field including Curtis Roads (will be doing the first public presentation of his new microsound book; yummy!), Carla Scaletti (creator of Kyma; presenting on using Kyma live), Joel Chadabe, among others. This might be my only formal study with the academic scene though as I am not too keen on its seclusion to the rest of the world.

If anyone on this list from the Paris vicinity wants to meet I am all for it. I will be attending as many underground electronic and experimental events over there as I have time for or can find... Unfortunately, from my research the electronic club scene in Paris is predominantly house music with almost no techno/experimental presence. I have some good internationally known London techno contacts and they don't even know people in Paris. I really want to find a free party scene. <---- punk rock has never ended; it has just changed its tune. I am going to try and get a performance wherever possible while in Paris. I have a DJ contact in Madrid that I might visit and perform with his collective. I am hoping my London acquaintances let me perform at their clubs. I am about to finalize a performance in Pittsburgh, PA on my way to Europe. I might be opening for John Acquaviva and that would be a great honor! I'll definitely send a post to this list about performances. I would love to meet any European members of the tuning list!

Music is music... Music is communication. I will never be ashamed of anything I work on musically. I am involved with dance music primarily _because my peers understand it_. I will be involved with microtonal music to broaden my understanding and too communicate to a to the people of the world; maybe one day the people of the Western world at large. Elitism does not further communication. <-- Ok, these are words from a young adult.

Essential stuff that people did not seem to know about when I talked to them at Microfest:

Audiomulch -- www.audiomulch.com (there is a free extended demo; this will free you to work with audio and not just midi; innovative)
Steinberg Nuendo -- Great DAW for the price. It has opened up so many doors to me.

Heck I could keep listing useful tools. In regard to the CSound debate I am luckily entering this area when I can choose from any tool to learn well. I am waiting for a Mac, so I can hit SuperCollider hard. I understand that SC is "100 times" better than CSound and much more capable. I don't have a Mac yet, so I will have to wait a while. Any opinions out there? Anyone work with it yet?

--Catharsis

Egregious
"Spiritual renewal through music for those outside the heard."
http://www.egregious.net/

--- In tuning@y..., Catharsis <catharsis@e...> wrote:
> By the way I was accepted to study at the CCMix studio
> (http://www.upic.asso.fr/) this July in Paris (going to be broke
and need a
> loan; but it will be worth it). I don't mind posting the above
track as I
> used it for demo material:
http://www.egregious.net/~catharsis/tracks/tones.mp3
>
> I also sent a DJ mix compilation (Live March 7th;
www.egregious.net/comps)
> hinting that if they did not accept it as music I was not
interested in
> attending. I'm attending, and am excited about this opportunity as
I will
> be meeting several top researcher of the computer music field
including
> Curtis Roads (will be doing the first public presentation of his
new
> microsound book; yummy!), Carla Scaletti (creator of Kyma;
presenting on
> using Kyma live), Joel Chadabe, among others. This might be my only
formal
> study with the academic scene though as I am not too keen on its
seclusion
> to the rest of the world.

Congratulations!! I just had a wild thought ... our local electronic
music organization, NWEAMO, is having a concert in the fall and this
year's theme is along the lines of what you've described. So consider
this as encouragement to submit your work to the following link:

http://www.nweamo.org/nweamoform.html

If you decide to submit a piece and need any help with setup,
locating performers, etc., here in Portland, Oregon, USA, just let me
know. I'm planning on submitting a piece, although my music tends to
be well away from the theme and it might not be accepted. If anyone
else on the list wants to submit pieces, let me know. I'm not much of
a performer but I used to be pretty good with audio gear back in the
1970s :-)

[snip]

> Essential stuff that people did not seem to know about when I
talked to
> them at Microfest:
>
> Audiomulch -- www.audiomulch.com (there is a free extended demo;
this will
> free you to work with audio and not just midi; innovative)
> Steinberg Nuendo -- Great DAW for the price. It has opened up so
many doors
> to me.
>
> Heck I could keep listing useful tools. In regard to the CSound
debate I am
> luckily entering this area when I can choose from any tool to learn
well. I
> am waiting for a Mac, so I can hit SuperCollider hard. I understand
that SC
> is "100 times" better than CSound and much more capable. I don't
have a Mac
> yet, so I will have to wait a while. Any opinions out there? Anyone
work
> with it yet?

I've come *very close* to buying a G4 a number of times because of
the wealth of great music software that only runs on the Mac. But
each time I consider it, I look at the *price tags* on all that great
software, shake my head, remember my great programming skill and the
wealth of *free open-source* music and system software out there,
such as CSound, sfront, and Linux, and the fact that my other hobby,
computational finance, essentially is constrained to Windows because
my data service runs there.

I've been doing my homework for a dedicated music system. Here in
Portland, for about $1500US you can put together a two-processor (1
GHz Athlons), 256MB RAM, 20GB hard drive Linux box, including a $300
Delta 4x4 sound card. I'm *not* a hardware hacker -- I'm gonna pay
someone to put it together for me :-). But I am a hard-core software
hacker ... so far my only concessions to commercial music software
are CoolEdit 2000 and CDP. I think there are free Linux packages that
are "almost as good". I don't have any of the fancy CE2K plug-ins,
just the basic package. So my plan is to get a dedicated Linux/music
box and move the music off the laptop, freeing up quite a few
gigabytes for the financial stuff.

While I'm here, I wanna weigh in briefly on the Schumann resonance
thingy. I have a Photosonix Nova Pro 100 Light/Sound machine and the
books and software that go with it, and the Schumann resonance is a
big deal in that world (pun intended :-). Now I personally believe
that 7.83 just happens to be a number between 7 Hz and 8 Hz, both of
which are in the high end of the theta range, for those of you who
care. If this mailing list were anything other than a bunch of
musical numerologists <vbg>, I would leave it there and just chalk it
up to marketing hype and the placebo effect.

But since it *is* a bunch of musical numerologists, and a very
creative and mostly friendly bunch at that, I'll add that I consider
music based on the Schumann resonance to be "found music" in the same
sense as, say, Dodge's "Earth's Magnetic Field", and therefore
something very interesting in my book. So, all you Schumann punks, as
they say in Minnesota, "Gopher It" :-).
--
M. Edward (Ed) Borasky, Chief Scientist, Borasky Research

http://www.borasky-research.net http://www.aracnet.com/~znmeb
mailto:znmeb@borasky-research.com mailto:znmeb@aracnet.com

If there's nothing to astrology, how come so many famous men were
born on holidays?

Re: [tuning] Digest Number 1263

🔗Catharsis <catharsis@egregious.net>

🔗jpehrson@rcn.com

🔗Ed Borasky <znmeb@aracnet.com>

🔗Alison Monteith <alison.monteith3@which.net>