Audio App Programing For Fun And Freedom

Once upon a time Apple made great products, tools on the cutting edge of creativity. Not so much anymore.  Today's iPhones are similar to those of yesterday, just faster with better cameras. The laptops are dummying down and the iPad is slow to catch up.  Since the death of Steve Jobs, Tim Cook's direction Apple has begun to focus primarily on content and short term economic returns.  In my opinion Apple's Content branch bullying users into using their streaming services while suppressing user content teeters on violations of antitrust law.  I don't expect that this will change anytime soon, people will simply have to stop buying Apple products.  The strong arm is exaggerated by iTunes and iCloud being the only authorized way to access and move the files on your phone.  The Music app and iBooks on the basis of copyright protections have progressively limited access to files by trapping them in a closed "SandBox" system.  It has always been difficult to migrate music off the remote device starting with the old iPods. Once the data was on the device it could not be removed with out a hack.  Now Apple is making it impossible to get files onto the music player presumably to force users into using their streaming service.  I don't want access to Apple radio or genius playlists curated from their monolithic Record label buddies.  I don't want to listen to their prescribed commercial swill.  If I wanted streaming, I would be paying Spotify to steal from musicians for me.  Personally I record my own music.  I want to take that music and listen to it in a playlist while out and about test my files on different sound systems. Yes I want an aux output (headphone jack).  Quit fixing things that were not broken.  It's not a difficult concept to grasp.

With the introduction of Files, Apple opened a door to a possible improvement by using iCloud made useful by purchasing a subscription for more space.  The file management system should work through USB, its faster more secure... not going to happen.  Apple's walled garden is becoming an amusement park.  Multitracking music in GarageBand is primarily an invitation to purchase sample packages.  Pay for your ticket, ride an ever more uniform and homogenized ride.  The proffessional path is buy ProTools and a massive Waves library.  Pay your slowly increasing subscription fee to Adobe Creative Cloud and get on with making high end studio quality productions with the prescribed tools, buy your ad space on Facebook so that your creation can be visible in the algorithm.  Surely the only conflict arises from trying to beat the system.  Individual success has no standing in the profits of the machine. You paid for admission to be creative.  By using the machine, the machine uses you.  Downloading a bunch of stuff not only will clutter things up but it increases the risk of viruses and and what not.  All paths open doors for malicious code.  Piracy isn’t what it used to be. Cracked software is becoming harder to find and so many apps are "free", but is anything really free? Is anything risk free? Free steals your privacy sold to your ads.  Using someone else's software means they own you.  Big Companies prey on this.  Monoliths of software steal and replicate lines of once open source code, compiling giant collections of tools the basic user may never get around to using.  The giant economic model of printing money, selling digital copies at top dollar or worse: Subscriptions.  How many minds contributed to the development of that technology built upon the creativity of the many who have come before?   Ethically shouldn't the creator be rewarded for making something useful rather than the assimilation snowball of marketing and gate keeping.

For this and many other reasons, we wish to know the back doors.  We do not wish to be used by the tools. We seek the SDK.  -   and its all here:

https://developer.apple.com/documentation

Knowledge can convert a future of app consumerism and generic AI rearrangement of cookie cut samples into your own profit and freedom.  The new craft advancing technology will be interfacing multiple systems, utilizing strings of code like brushes in an illustration app.  Knowing is a matter of immersion, and of having some one walk you through the process.  The Open source programming multimedia and arts community is a small cult around the world.  Hackers, musicians, animators, gamers, they are those on the other side of the veil.

There is a world of Java shells for hacking the unfamiliar into open connection.  Converting the hard storage 8 bit programming of a NES cartridge and Atari game controllers on a 64bit iPhone,  MacOS, Windows, Android to GNU/Linux, UNIX, Arduino, Raspberry Pi, Xbox,  IP addresses, SSL, New neural pathways for porting the information to and from different devices, comprehending components usage of libraries of code.  Single run functions, objects, arrays, storyboards, library locations, endless variations breaking all the way down to hexadecimal and binary machine code and eventually to electrons flowing through switches, potentiometers, microchips. The jargon itself is intimidating.  A quantum physicist might argue that technology eventually becomes spiritual...or not.   Soon we will need to interface with robots and automated cars. The future will become ever more modular for those in the know the rest will be consumers changing out devices every two years.  The only question is how deep do you want to go into what the foundation is built upon?

The open source environment can be daunting when considering what to download.  To click or not to click. Navigating GitHub, using Terminal, information overload. The Rabbit hole is endless.  countless programming languages, a million flavors of ice cream.  I don’t for see myself building PC chips,  but how deep into the controls do you want to go.  Is this a means or an end?  Time and daily effort is required, so much information to acquire, watching online tutorials, reading documents as the technology keeps moving knowledge from under your feet.  I started out wanting a simple looping delay on my phone and end up doing research on how to install a VirtualBox on my laptop to investigate Linux Kernel hacking...WTF.   Keep asking: "If only I had this thing I would be able to create properly" if someone makes a reliable instance of that specific tool.  What is it worth?  How do I acquire that one single simple tool. A string of code like a hammer. Besides getting around Apple's ridiculous controls,  I wanted to make programs from laptop portable through the phone.   I want to be able to build them for myself.

My initiation to multimedia programming was MAX/MSP/Jitter heavy.  Max allows a certain level of autonomy and a baseline for coding knowledge. It acts similar to Reactor or modular synths with a visual signal flow.  Seeking ways to port Max projects into IOS  I found the MobMuPlatform and PDParty which both run PD music files.  PD is by Miller Puckett’s simplified and free version of MaxMSP.  PD Vanilla is the most basic architecture. 
http://puredata.info/
http://www.pd-tutorial.com/english/

Pdparty vs mobmuplat

MobMu by Daniel Iglesia requires you to build your user GUI interface with in the MobMu Editor.
It also appears that MobMu will actually let you you access a folder "On My iPhone"
http://danieliglesia.com/mobmuplat/doc/index.htm

PDParty
http://danomatika.com/code/pdparty/guide
PDParty seems ports the user interface directly from your PD Project.

Both methods utilize Libpd  http://libpd.cc/ which allows porting of PD into mobile devices.  This is a library you would want to put into your own swift projects if you were to get serious about making your own app. Rather than running your PD projects though a 3rd party app.

https://github.com/libpd/libpd/wiki/Working-with-libpd-in-Xcode

I had some familiarity with Xcode,  but knew nothing of the Swift IOS programming language. I had minimally experimented with object oriented code with Supercolider, Javascript, C in Cocoa.  HTML and CSS gave some advantage but not much. So practically starting form scratch, I started going through tutorials like Coding with Chris and The Swift Guy.

TO BE CONTINUED...

in the meantime

https://thehelloworldprogram.com/

A Demonstration of Electro-Acoustic Digital Concréte

More Flashbacks to the Flora studio, this time for a demonstration and documentation of a recent change in the ImprovMachina version who knows what.  It is a view of part of my process,  program a little,  play a little,  the only thing missing is the edit a little. So here you get raw and untapped from The Flora Studio circa 2013.

Orion Variations on Circ5 Glitch

I have been on an all acoustic tangent for the last little while.  Partially due to Tears of the Moosechaser and partially due to a failing Macintosh Powerbook G4.  The G4 has been replaced by an all new Macbook monster which has meant all new software or at least all those updates I couldn't get because of antiquity of my tools.  I usually hold to the idea that tools are just a means to an end and it is the user that creates but I am not going to lie the toys really open up new doors.   

So here is a little experiment with Max6 which has completely swallowed MSP and Jitter into one behemoth which after using a while has become quite a delightful change from the old version.

The idea was to create a custom controller using the Circle of Fifths.  Of course it was inevitable to build an autopilot to play it with and the first and easiest was random chord and scale variations of the chord playing into perpetuity.  

 I used an object called urn to hold all the possible keys major and minor (24 total) and output them randomly with out repeating.  Using the same object I built a melody engine to play notes of the scale selected.  Some kind of autonomous 12 tone cycling music that is not 12 tone at all rather 24 tone.  I had to cut out 7th notes because they made the transitions from chord to cord funny about half the time.

Basically all the program outputs is midi information.  I connected it to a synth for a sound source like Bladerunner or some other Vangelis 1980s sci-fi movie so thus the name.  The bug in the code though is the really interesting part,  If Miles Davis says there are no mistakes in music just happy accidents this is definitely no exception.  I haven't yet figured out what causes the notes to stick but it is in the MIDI send out to the synthesizer somewhere. Irrelevant to the chord playing or how long the cycle goes on. 

Funny thing though was my computers almost aware willingness to play along I have the screen saver set to dictionary(considering myself the occasional wordsmith) and the computer went to sleep while I was filming the patch with my phone. Just after I got up to deal with the glitch.  The word it chose was:

INJUNCTION

Happy to have this captured pretty much makes an entire conceptual performance piece out of an experiment.

Bjork's new App/Album - Biophillia

It looks like Bjork has been busy, and just to show the world she hasn't lost her touch for pushing the industry forward,  she is releasing her newest musical work as a complete album/application for iPhone and iPad.  In addition to stop motion videos, 

Biophilia as a 3-D multimedia collaborative effort made possible through a large group of artists, scientists, designers and instrument building programmers.  Some notables are Scott Snibbe and Michael Gondry and M/M design in Paris who she has worked with many times before. Science Icon David Attenborough narrarates the opening introduction.

  

 The listener is invited to wander through constellations in order to access Album art, games, notation, lyrics and music.  The interactive approach allows full multimedia immersion in the entirety of the ideal presented in the work, primarily How nature music and technology interact.   The album presents itself as an instrument to be played, toying with organic ideas exploring space and microscopic environments alike.  The games allow the listener to become involved in actually creating the music building rhythms chord structures out of the earth, and fighting mutating viral rhythms.  Then of course you can also just listen Bjorks above par music. In a world where pop artists try and try to be different but still make mediocre cookie cutter songs Bjork shows up and shows Mother Monster she has a lot to learn about being an artist.

Production Techniques used by The Beatles producer George Martin

Nothing will quite change the trajectory of a band's music, and career,  like a great producer.   This can be seen with Radiohead after teaming up with Nigel Godrich for OK Computer,  and with a slightly less positive but even more tidal shifting collaboration of Mutt Lange and Shania Twain(which ruined country music forever more.)  Then there is Dr. Dre.  and the list especially in Hip Hop, Rap, and R&B goes on and on and on.   However, one relationship stands out above all others: 

The classically trained producer George Martin teaming up with the rock and roll band The Beatles in 1963, producing every Beatles recording from "Love me Do" the first single released to "Abbey Road" - the last album that The Beatles recorded (With the exception of Phil Spector's post production on the Let It Be album).   Martin recorded the first album stereo in eleven hours beginning his legacy as the fifth Beatle.  I would venture to say that without Martin's orchestral arrangements, instrumentation choices and the general use of the medium of recording, The Beatles would have just been a British Band imitating the music of American artists like Buddy Holly.    So where better to look for inspiration than this very fruitful relationship?

What techniques were used to attain the sound ?(miking, mixing, etc.) 

Tips from Geoff Emerick the engineer

Geoff sees audio as color, high treble as blues and silvers, with treble being green,  and bass as browns and golds.  He also chooses to place a small amount of EQ in the recording chain before going down to tape when multi-tracking.

Separation is really important  for the purposes of presence.

Tracking should start with the rhythm track  and he generally won't mike the hi hat unless its a featured part because there will be enough in the snare and overheads.   He also doesn't like taking a direct in from the bass because he sees it as lazy and prefers hearing the interaction between the bass and rhythm guitar.  In the studio he would also record piano stereo and add leads later.  It's best to go for a great performance here than to worry about perfection with the exception of really bad mistakes.

Next overdub a guide vocal to show where to fill in the instrumental overdubs and in the end re-record the final and harmony vocals, double tracked,  if you want orchestral overdubs do that also.

Tips From George on being a producer.

Diplomacy is your first requirement to be a record producer the second is good judgment.   He believes in a firm rapport  but questions his place in actually shaping the song.  but also feels that every one needs to listen to another voice to question and strengthen the creative process

Its up to the record producer to figure out before hand how the recording will go.  It is good to know:

     The arrangement and if there will be orchestra.

     If you want to get people together and the studio and play heads. 

     How many tracks are going down. 

Martin likes the separate roles of Engineer and Producer. 

You must be able to know how far you can go creating the sound you are looking for with out making it muddy or having your sounds run together.  The most important part is that the voice be heard and the song must have a clear interpretation 

Be careful not to take out to much or mix too mechanically when using multi-tracks and close miking techniques

Multi-tracks are a blessing from god, but coming from a limited background where you are mixing from one four track down to another to get more tracks gives you a great sense of forward thought to not get serious degredation problems.

Sequencing is important also once every thing is recorded. Figure out the best order for the songs to be played in to create interest in the listener.  Allow the whole thing to flow together well to sustain that interest then leave them feeling amazing with a last track.  Be conscious of the silence as well. 

Another important ability of a producer is getting inside of the artists head to understand their desire Mcartney was always very definite in his ideas and came up with most of the creative ideas

Lennon didn't like dealing with detail and bringing his ideas to fruition and he wasn't easy to please.  George referred to working with John as an archeological dig.

Example pieces

Yesterday - 1965 Paul recorded his vocal in two takes to his own guitar accompaniment.  George Martin offered the suggestion to add strings and with that Martin's relationship with the beatles began. 

In my Life -1965 George Martin played a piano solo in the middle of the track and then sped it up to twice the speed, acheiveing a baroque sound.  This was the first time that the beatles used tape manipulation to create a special effect

Strawberry Fields Forever -  used tape speed to make the George Martin string and brass composition be in the same key as  John lennon's original song which were then merged together to create the song starting with johns intro and ending with the orchestrated part.

Tommorow Never Knows -  John Lennon wanted a chorus of a thousand Tibetin monks chanting from a mountain top.  Lennon didn't like the sound of his voice and wanted the words but not him to be heard. Martin rose to this challenge by sending Lennon's voice through a revolving leslie speaker.

All you need is Love -  for the world wide live broadcast entitled "Our world"  the Beatles were chosen to represent Great Britain.  george martin played the basic rhythm track through a four track machine while the fab four  overdubed vocals and instruments live with an orchestra playing martins score which started out with  La Marsellaise, the french national anthem,  and closes hinting at Bach's Greensleeves  and glen miller's  in the mood

I am the Walrus - 1967- parts of Shakespear's  King Lear are being fed in from a live radio broadcast during the mix session

A Day in the LIfe - 1967- Paul suggested that there be a 24 bar section of a orchestra gone wrong.  Martin asked each of the forty members of the orchestra  to start on a predecided note and ascend to the highest note that their instrument could play starting softly and finishing loudly playing seperately from their neighbors.  They recorded it four times onto four tracks of a four track tape.

Being for the Benefit of Mr Kite - 1967- always had the spirit of an appropriation piece.  John took the lyrics almost directly   from a victorian promotion poster printed in 1843 for Pablo Franque's Circus Royal.  John initially wanted a hand opperated steam organ but couldn't find one George Martins fix was to compile a tape of steam organ recordings from  sousa marches and othe circusy sounding tracks.  then he had Geoff Emmerick to cut the tape into about sixty foot long pieces and then toss them into the air and reassemble them at random.  George Martin "any that sounded too much like original were turned around and added backwards until finally I arived at a whole amalgam of carousel noies which we used as a background 'wash' to give the impression of a circus"   for the swooping swirly sound that john wanted organ sounds had john play the organ part on one piano at half speed and an octave lower sow that Martin could play chomatic runs fast enough to get the desired effect when the tape was sped up.

 With all of that John had the swirly circus sound that he  was looking for.

George said of production, (from eleven hour records to three week records to records that take years)"What's most important is that a recording have soul.  It must lift the emotions of the listener and come from the heart."

Martin G.  (1983)Record Production.  G. Martin.  Making Music,  New York,  N.Y.  William Morrow and Company (257 - 265).

Emerick G.  (1983) Recording Techniques.  G. Martin.  Making Music,  New York,  N.Y.  William Morrow and Company (257 - 265).

How Does Radiohead Do it?

Radiohead is a special case in music.   

One day after their album "King of Limbs" came out, It had already taken its place crowning the internet top searches.  Millions of YouTube hits and hundreds of bloggers offered interpretations of lyrics, comparisons to previous albums, reposted and otherwise cashed in on the success it was destined for.  'The Robotanists' even went about making  a cover album of the newborn baby within the day. 

  Fans of Radiohead can't seem to get enough, conservative music listeners (the kind that listen to Top 40 radio) are eager to patiently listen to it and try to understand it, marveling in the evolution of the megagroup and relishing in how they (the listeners) are now "Artful" because of the new sounds they are privy to.  'King of Limbs' feels like something that you know shouldn't be alive but keeps looking at you in the face, very much existing.

Many hail "King of Limbs"as Experimental, yet it has become vastly popular with listeners who seem to have missed that memo decades ago re: The arrival of Experimental music. (Bjork, Sigur Ros, Autechre,  Lexaunculpt,  Hrvatski, Matmos, Venetian Snares, Boards of Canada,  IDM, the list is long). Many are quick to pigeon hole, or expect something else, be it the next level on the Experimental ladder, or a retreat back to the good sing-along Karma Police days.  I see it as a step on a obvious trajectory,  Radiohead has been on this path beyond cult ever since teaming up with producer Nigel Godrich for 'Ok Computer' back after they proved that they could be your everyday true rock band. 

'Ok Computer' opened the door to the change that nobody was expecting. The jazz influence snuck in but carried on its back something far more whimsical: Ambiences, open song stuctures, electronic beats, layers upon layers, found woven through out anything Godrich touches.  'Kid A' and 'Amnesiac' dove deeper in the new electronic direction and everyone flipped out because 'Techno' was no longer the only electronic music. But truth be told the music to this day is very specific to Radiohead, it has always been specifically Radiohead and will continue to be characteristically Radiohead.

So let me get this out of my system once and for all.  If you think this new album "King of Limbs" is experimental go listen to Pierre Shaeffer and see where tape music came from,  if you want great pop music with noise overtones and actual depth Radiohead fits the bill.  I have to give props to them, Radiohead keeps opening the ears of those that are unaware of what is out there. Ok. so is not new, but it is very good and the more times I listen to it the deeper in I go.  In my humble opinion, this one hits the mark right where 'In Rainbows' missed... They have created a thick luscious environment,  hung on to instruments,  chopped up some live drums and put them back together.   My first impression is how old the music seems classic, retro like "Baba O'Riley" by The Who.  The textures though are far more complex,  back masking guitars, delay units, and feeding into that stumbling Art Blakey Jazz drum segments,  Living in poly-rhythms, colliding with this lounge exotica sleek swing thing.   And at the top everything delays like dub music fading into an atmosphere to set the stage for more and more looping offset to pretty much obscure the fact that this is thus far extremely minimal repetitive music in standard 4/4.   "Little by Little" sounds like a throwback to Nirvana back in their "Bleach" days,  however Radiohead is still very much there, amongst the whining and through all frequencies.

Andres Salaff's "Lifeline" Maintains An Orderly Progression As A Wave Of Depolarization.

Lifeline is a beautiful animated short film about an aging scientist using a machine to allow him to search time and space for his deceased wife.   This winner of a Student Academy award, written and animated by Andres Salaff, details the lengths that love will drive a person too.  The CalArts Character animation short film has no dialogue and is accompanied by a haunting score by Blanton Ross.  The source material used to create the ambient soundscapes of Lifeline have been collected into an album called Dream Travel.

 For more information on festivals Screenings etc. please visit lifelinefilm.blogspot.com

Lifeline from Andres Salaff on Vimeo.

The Body as an Interface

Biomechanics is a rising field of interest for many different people from medicine to sports and even into the arts.  The human body can be monitored in a variety of ways from eegs which measure brain waves,  eogs to measure eye movement in sleep studies,  heart and breathing monitors. The depth of research into this world is an abyss that seems to be come ever deeper the more one learns about the subject.   My interest in the subject remains within the arts and with movement as a control of a non-clinical environment.   Our main limitation is that the human body can can only (as of yet) be interfaced superficially.   This leads to problems measuring human movement because joints which could be hard to measure on their own are even harder to access because they are deep to certain muscle groups and skin.  For a short example of the complications, take just the lower body from the superior structure the hips down to the inferior ankles.  By limiting possibilities to the larger movements of the skeletal system (particularly to those inferior to the transverse plane) you end up with only six large joints acting independently of all others. For monitoring, movement these joints can be looked at in 3 pairs of root sensor systems.

    - the hips
    - the knees
    - and the ankles

When standing, we can say that the body is at unity or the starting/natural state.    Most joints are in their natural state of extension in this position.  and then...

The Hips

When dealing with the hips circumduction becomes a problem because of the 3 Dimensional conic movement of a ball and socket joint.  The closest electronic analog i can think of is a joystick which measures potentiometers on two axis  and outputs both position values like coordinates (x,y). if we were to use a flex sensor we could only measure the anterior hip motion along the the sagital plane because of the gluteus maximus and hamstrings on the posterior which mask the small angle of movement we could measure if we had access to the acetabulum where the head of the femur makes contact with the coxal bone.  One might be able to measure the movement of the greater trochanter but that would still be difficult with the muscles which act as the flexors of the hip joint. This problem holds firm when you try to measure abduction(open) and adduction(closed) on the frontal plane as you would see it in Leonardo's  "Anatomy."
{as a side note measuring the medial and lateral rotation would be difficult as well}

The Knees

The knees being a hinge joint are the only joint on the lower body that can be easilly monitored using a flex sensor.   Hinge joints lend themselves to this type of monitoring because they have one state of extension and one state of variable flexion from 180 degrees all the way open down to about 10 degrees as folded as possible.  Flex sensors aren't really useful for any other type of synovial joint.

The Ankle

Measuring the ankle is weird because its natural state of extension lies between two points of flexion: dorsiflexion with the toe up and plantarflexion with the toe down.   One could put flex sensors along the achiles tendon and the dorsal part of the foot where the tibia and fibula meet the talus.  

More of the foot could be wired up to flex sensors for each of the phalanges and metatarsals but the shoe probably wouldn't be very comfortable.  For the foot I would like to develop some sort of measurement device that would be more intricate but similar to the type of system that you see in children's flashing led shoes.  the system would have quite a few pressure sensors embedded in the soul of the shoe to measure the anterior most end of the metatarsals through the phalanges and cuboid area and also below the calcaneus to measure the weight displacements as a user moved and balanced in different ways. 

So you see talking about the body could get complex, let alone measuring it. Then there is a whole new slew of fun to be had by all.  So the knees and elbows are easy bend sensors,  and then... fubar...

If you like the flexion measuring its worth a look at the MidiDancer developed at CalArts by Coniglio and Stoppiello of company Troika Ranch.   That's where it has all already happened in dance... has been happening since 1984...probably longer... at the risk of repeating the grand. 

I had original aspirations to use such a system for performance after having my brain fully warped by the book "Machine Musicianship" by Rob Rowe.   It was Morton Subotnik's work "Intimate Immensity" and his use of infra-red beams in a system technically executed by Clay Chaplin and danced by Nyoman Wenten that led me to CalArts in the first place.  My exploration of sensor possibilities for retrieving information from the human body began with the use of video to track motion, followed by research into things such as joint angles and rotations, muscle stretch or tension, and pressure for weight displacement on the plantar surface of the foot. 

anyhow...

In my search for better sensors I came across some interesting developers and their websites.

Poleema sensors use magnetic feilds to determine location.

The porcupine is made of several tilt / ball switches which recognize motion and orientation on the three planes, it could be quite useful.

I also found a similar sensor that reads full 3d motion and comes with software(very cool).  www.xsens.com.  It uses small blocks which could be fitted to the femur and the tibia/ fibula and would send out information about the orientation of those bones.  Really, useful stuff it also says how fast it moves etc.. check it out.

Also, there is a book called "Three Dimensional Analysis of Human Movement"  containing essays of many different scientists edited by Paul Allard. 

Its something to think about...more...

I have thoughts, I can write a Blog

sigh...
I just watched "Julie and Julia". It showed me something about continuity, which is often the cry of the masses, and indeed a mismatched gathering of self stimulation is in fact just that. Yet the overwhelming number of Blogs will testify to the value of self adoration and reaching out to strangers in this time of our civilization's evolution. Shall I share my perspective on the world? In time dear child, but first view this image Tripp Nestor. (I have heard the people like pictures)

Now, there is this ongoing debate about real art vs. digital art, another about real writers and throw away bloggers. Furthermore we have endless copyright issues, remixing of video and music. (by the way that picture you need permission to use that image) Yes we have worked our selves towards something, in a few hundred years they may explain the phenomenon. Will it be a modern Renaissance? What is going to be seen as the worth that comes out of this time of reckless freedom of expression? Is success to be measured by the number of google hits one has? Will those hits equate to ease of living, wealth or prosperity?

Who knows?

In the vaults of the future...

The proof will be in the pudding.

Peregrinations into Sound Art

Digital concréte is an adaptation of a classical composition style fathered by Pierre Schaeffer in the 1940s it marks the division between the French and German schools of electronic music. The Germans making sound by electronic means (oscilators, etc) and the french manipulation of found sound(tape, records,etc). I do both, but lean towards Concréte...digitally.