(excerpt from my e-book “New Concepts for Music and Sound”: https://www.dev.rofilm-media.net/node/537)

Experiment 4

In experiment 4 the New and the Old meet even more tightly and entangled. One layer is the rather old (but pioneering at its time) technique of messing up speech by playing back pieces from different speakers at the same time.

(Excerpt from my e-book “A Systematic Introduction To Making Generative Music With Modular Synths”, Volume 1. Read more here: https://www.dev.rofilm-media.net/node/331)

Chapter 5.8:

Instruo “harmonàig”

(Modules that are especially useful when making generative music)

(Excerpt from my e-book about this topic: https://www.dev.rofilm-media.net/node/537)

What the pioneers of electronic music worked on, emphasised more than before or even discovered, and how to translate this to our situation today:

Aspect 3:

The relation of composer, instrumentalist and machine (tape)

As promised on social media, here is the complete patch. Just click on the link to download it:

https://www.dropbox.com/s/l8nqt2dtcty3z2m/ultra_9.vcv?dl=0

or simply watch the video here: https://youtu.be/MOmXeFUxHlA

(excerpt from my e-book “New Concepts for Music and Sound”: https://www.dev.rofilm-media.net/node/537)

Experiment 3

In both experiments the composed parts contained rather simple timbres and sound developments – let´s say to “keep our musical feet on the ground” - whereas Ongaku delivered more complex sonic goings on. And the individual parts, the composed one as well as Ongaku´s answer – were rather long, not a real dialogue.

As promised on social media and YouTube: here is the patch:

You can download it here:

https://www.dropbox.com/s/xtynipxafagbkbt/ultra_8.vcv?dl=0

or simply watch the video here: https://youtu.be/QarzPmSrx_M

Enjoy your day!

Rolf

(Excerpt from my e-book about this topic: https://www.dev.rofilm-media.net/node/537)

What the pioneers of electronic music worked on, emphasised more than before or even discovered, and how to translate this to our situation today:

Aspect 1:

The meaning of sine waves, additive synthesis and the real nature of sound

(excerpt from my e-book “New Concepts for Music and Sound”: https://www.dev.rofilm-media.net/node/537)

Experiment 2

Experiment two now. This time it´s not about certain notes nor melodies nor anything serial. This time it´s about timbre, sound and pitches.

(Excerpt from my e-book about this topic: https://www.dev.rofilm-media.net/node/537)

What was so groundbreaking about the goings on in Cologne and Milano (and Paris and London, and....) in the 1950s? What was it that makes us call this early electronic music “revolutionary”? What´s all the fuss about anyway? Why should I care about Boisselet, Stockhausen, Eimert, Madera, Berio, Krenek, Cage and, and, and? Why isn´t it wasting of time to study these old guys when I´m indeed looking for new concepts NOW?

(excerpt from my e-book “New Concepts for Music and Sound”: https://www.dev.rofilm-media.net/node/537)

Experiment 1