The new podcast by the Atlanta Surrealist Group, Mumbling Planet can be found on Apple Podcasts and Spotify. It's waiting for approval and will soon be listed on Google Podcasts, Pandora, and Stitcher within the next few days. You can also listen to the audio straight from its home page here.
E N J O Y….
Score below for the interested:
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AUDIO SYNTHESIZER SETTINGS
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All oscillator frequencies between 18 and 880hz utilizing Max for Live. All patch settings are Max for Live 11 defaults unless otherwise indicated.
OSCILLATORS
(echo sends are all set to 100%, all oscillators on separate tracks)
Osc 1 Settings (cycle~):
Pitch = Random LFO @ 0.07 hz (0% - 50%, Smooth = 100%);
Ambisonics @ Envelop4Live (E4L) Source Panner controlled by two LFOs:
1) Azim = Sine @ 0.013
2) Radius = Sine @ 0.012
Osc 2 Settings (cycle~):
Pitch = Sine LFO @ 0.0007 hz;
E4L Source Panner controlled by two LFOs:
1) Azim = Sine @ 0.03
2) Radius = Sine @ 0.02
Osc 3 Settings (triangle~):
Pitch = Sine LFO @ 0.0007hz
E4L Source Panner controlled by two LFOs:
1) Azim = Sine @ 0.03
2) Radius = Sine @ 0.02
ECHO RETURN
Unlinked; Set to "Time";
Controlled by Two LFOs:
1) Left Time = Random @ 0.07, Smooth = 100%
2) Right Time = Random @ 0.06, Smooth = 100%
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VIDEO SYNTHESIZER SETTINGS
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The video synthesis aspect of this is freely improvised video synthesis with the exception of the following constraints: 1) The LFO that controls pitch for Osc 1 should also control some video synth setting via midi bus (IAC on mac, etc). 2) At least one of the LFOs that are controlling the Echo Return should also control some synth setting; again, via midi bus.
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PERFORMANCE NOTES
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When running the patch at first, be sure to gradually and manually bring in each E4L LFO and the Echo Return Track PRIOR TO ANY RECORDING OR PERFORMANCE. They can't be running at the same time as they would line up exactly in many cases. Part of the improvisatory aspect of this piece is the complexity dynamics inherent in where decisions are made about how to offset the LFOs. Each time the patch is opened, the E4L LFOs should be turned off and turned back on one at a time according to the intuition of the performer... but don't rush it... these are rather long processes and the results will be more interesting, perhaps, at larger time intervals. After the LFOs are set, they gain can be set to zero and brought back in (either gradually or immediately) at the beginning of a performance or recording: either on the master track, or on the individual oscillator tracks. Although the current realization is entirely digital, translations and adaptations for Analog Audio or Video Synthesizers are not only possible and acceptable, but welcome. I hope you enjoy! - JRF, 11:50am, Monday, July 18th. 2022.
Here’s the score for my piece “Almost Still”.
The audio/video that resulted from this process can be found here.
https://jamesfoster1.bandcamp.com/track/send-me-the-tunic-of-early-morning-light
Genre: Experimental
Rating: 5/5
released on bandcamp February 16, 2021
Posted by birddog, January 11, 2022
Send Me the Tunic of Early Morning Light is a single track release that clocks in at just under half an hour. If you feel like dark ambient and drone releases have become predictable and formulaic this is for you. It’s an aggressive experimental take on these genres that doesn’t fall comfortably under either umbrella. This would be more comfortable on Foster’s hometown of Atlanta’s WREK’s long running (at least four decades now) experimental music program, Destroy All Music, than it would on Hearts of Space but could perhaps sneak by on either.
I’m a big fan of Oxygène and the electronics on this aren’t so different in some ways. Foster is too radical here to use such a simplistic musical arc but unlike a lot of stuff that’s coming out now he’s not afraid to use cool sound effects. Maybe everything even remotely in this style can be traced back to early Tangerine Dream and it’s in here, especially Schulze. But again this is a wilder ride. What I’m saying is, this is definitely experimental but not intentionally alienating. Don’t get me wrong, there’s a place for intentionally alienating music but this isn’t it. Foster sets out to engage and entertain as well as explore.
A piece I wrote and performed for the game "Minotaur Princess" produced by Bunnies for Peace Studios,utilizing the Ancient Greek "Olympos" scale (as reported by Partch).
You can find more info about the game by following Bunnies for Peace Studios on YouTube (https://www.youtube.com/channel/UCRW7…), on Discord (https://discord.gg/t2Z4kPnhUU), on Twitter (https://twitter.com/minotaurs4peace), on facebook (https://www.facebook.com/Minotaur-Pri…) and on instagram (https://www.instagram.com/minotaurpri…
Each of these pieces (TRANSMISSIONS) were designed, improvised, and edited within the span of single weekends (1 piece per weekend or so….).
He moves in time and space.
He tells the story of how it got that way.
Fortify me, oh heavens.
Buttress my jaws and tongue.
Speak to me of long ago…
Speak to me of what’s to come…
