(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)

Instruo “harmonàig” - Part 2

(modules, that are especially useful for making generative music)

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

About Noise Art

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

One of the “backbone” devices in the studio of electronic music of the WDR broadcasting station in Cologne, Germany was the Tieftone Generator.

(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 5:

I´m building a voice recording cabinet, I´m surprising customers in a Vietnamese shop, and I´m consuming legions of kitchen sponges. And even some first tests of the cabinet are not missing in the video.

Timeline/Content

00:00 Intro

00:27 The Whole Story and DIY

01:16 Some Words About the Material

01:48 The Vietnamese Shop Helped Me Out

03:20 The Building Process in Short

04:12 Testing the Cabinet

Enjoy your day!

Rolf

(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.