Cinema Volta: Daily Ambience

This set of sequences is turning out to be more about taking the same structures and sounds and altering them through the processing. I've added an infinite delay with modulation to yesterday's track. I also boosted the level of the oboe. I'm really pushing the limits of my six-year-old G4 here.2005-09-01

By the way, this is number 200.

Some more modifications of the effects chain and I placed it all in Domkyrkan this time. The is probably the end of this series because I've hit a brick wall with my computer. The creation of this track keeps crashing Cubase. Serves me right for using so much beta software. 2005-09-02

Similar process as before, just with very different results. This also began with a single note run through a variety of MIDI processors. 2005-09-03

This is yesterday's track run through a set of moving resonators and then put into the Cistern. I just can't resist making things blurry. 2005-09-04

I'm using Altiverb instead of Rayverb for the Cistern reverb because it can handle the 44 second decay much better.

Same setup as yesterday, I just changed the processing on the track. This one is about echoes and standing waves. 2005-09-05

Continuing the same process. This time the effects are filtered echoes and the reverb from Gasverket here in Stockholm. 2005-09-06

This was a tricky one for me - other than the 45 second reverb from the cistern, there are no effects, no loops, no special processes. Just me, my strat and my ebow. 2005-09-07

I've just been informed that this site has been nominated in the category of "Best Podcast" for Deutsche Welle's "BOB" awards.

Returning to the sequence track for the moment. This one is placed in Laukyrkan on Gotland. It makes use of frequency shifting, mult-tap delays and frequency distortion. 2005-09-08

A snake eating its tail. Everything is modulating everything else in this one and then stuck in a huge space. 2005-09-09

By the way, this is probably the only time I will ever use granular synthesis. It doesn't make me nauseous the way that ring modulation does, but it comes pretty close. I only used it this time because this application of it doesn't sound like someone trying to pull a nail out of a knothole.

Back into the cistern with the ebow. I was going after a "half-heard" feeling here, trying hard to make it just about the reverb and not the notes. 2005-09-10

Feedback and delays heavily modulated and then fed into Domkyrkan, because it is Sunday after all. 2005-09-11

Taking yesterday's setup and making it slower. It's in Gasverket now, because today is a work day after all. 2005-09-12

Continuing with the same set up as the last two days. This time, I've added some more conventionally musical elements. I think it makes it sound a little ominous. 2005-09-13

Same connections as yesterday, I just adjusted levels and put it all in a different space in the end. I'm flying blind with these, all the effects are overloading my computer's processor by about 200%, so this is electronic music done in the old-fashioned way - you set up some programs, make some guesses, start the process running and come back later to hear the results. In this case, I only have to wait about 5 minutes, not 24 hours. 2005-09-14

I decided to upgrade my computer, so now I can hear all this stuff in real time. I have now upgraded my 6 year old G4 to 1.7 Ghz and it makes all the difference in the world. I haven't been able to make the commitment to a G5 yet, and this old box has sentimental value to me.

Anyway, here's the latest feedback piece: 2005-09-15

I'm really happy that I can do this in real time now, and I really like the feedback machine is doing, so I'm sticking to the process for a bit longer and playing around with spaces. This one is in the cathedral at Rouen. 2005-09-16

This is turning into a French series. Today the feedback machine travels to Rouen. 2005-09-17

And now we're in Caen. 2005-09-18

Same basic setup as the last few, but the tempo is faster, and it hasn't been placed in any sort of acoustic space. This is just the pure feedback and delays in all their glory. 2005-09-19

I changed the order of some of the processors and came up with this. 2005-09-20

No loops, no feedback, no self-modulating processes on this one. Just me improvising with the cistern. 2005-09-21

Continuing with the "hand made" approach. Once again, no generative processes here, just me playing with sounds. 2005-09-22

On this track, I'm using the amazing Crystal synth plugin from Green Oak software. Even more amazing - it's free. Their Delayifier plugin is buried in this track somewhere as well.

Continuing with the hand-made approach. This is a variation on yesterday's piece. 2005-09-23

Some slow phasing loops placed in the ballroom at Drottningholm Palace in Stockholm. The notes for the melodies were chosen for how they triggered resonances in the reverb. I used Rayverb for this one because it is much more "tweakable." 2005-09-24

Just some sounds moving through Gasverket. Inspired by Morton Feldman, but sounding more like David Tudor. 2005-09-25

Here's some more phasing loops, placed in Laukyrkan. 2005-09-26

This is a variation on yesterday's track with new instruments and a different space. 2005-09-27

I took the setup from the 24th and slowed it way, way down and added some modeled analog delays. The idea is to take more time to explore the resonances in the space. 2005-09-28

Tweaking yesterday's mix here. I've added more delays and resonators and moved it to a different space in the final mix. 2005-09-29

This is a phasing piece, but more structured than usual for me. There are two melodies, one played by three cellos, the other by three violas. Each group of instruments plays the same melody several times at three different tempos, 120, 100, and 80 beats per minute. They stop playing at the point when they end the repetitions in sync with the other instruments in their group.

All that aside, I think it sound pretty, and there are some nice combinations of pitches here. 2005-09-30