Archive for the vuzh music news Category

C. Reider Live this Sunday

Tuesday, 08 August 2012

Hello everyone,

If you’re in Colorado, please come to see the Disquiet Junto Denver concert at the Walnut Room on Sunday, August 19. Doors are at 7, tickets are 10 bucks.

This is a ridiculously cool event, there are seven artists performing with the “electronically enhanced glass harp”.

Performing will be:
Offthesky and Pillowgarden
Radere
C. Reider
Mysterybear
Ten and Tracer
Cody Yantis

Here’s information about the project:
http://disquiet.com/JuntoColorado2012/

And then a Facebook link, for those of you who do the FB:
https://www.facebook.com/events/188400527957324/


Disquiet Colorado Junto

Sunday, 07 July 2012

August 19 / Walnut Room / Denver

Mark your calendars. Book your flights.



More information:
http://disquiet.com/JuntoColorado2012

Or Facebook, if you must:
https://www.facebook.com/events/188400527957324/


Cracks Appear + Buddha Reduction remixed

Wednesday, 07 July 2012

Two new releases of note:

It is a happy occasion to report that the anonymous collective Digital Mass has taken advantage of the CC license I used when releasing Buddha Reduction, and derived their own work based on my original sounds.

Here’s their reworking of the Buddha Reduction, it’s very ambient-y:
Digital Mass with C. Reider- Prolongued Buddhic Reduction


And in other news, there’s a brand new track by Auzel, and one by C. Reider too, along with several familiar faces (like Kirchenkampf, Hal McGee, Travis Johnson, Mutant Beatniks) on the new compilation from the Implicit Order. Each artist on the comp re-worked sound samples provided by Anthony of I.O. Pretty cool stuff to be found there.

Here’s the link, go download it!

http://theimplicitorder.bandcamp.com/album/cracks-appear




Concert

Tuesday, 07 July 2012

I’ll be playing live for my first live performance on July 5 in Fort Collins, Colorado at a cool little used book / record store called Bizarre Bazaar. I’m playing in support of Boulder-based ambient musician Radere and Andrew Weathers from Oakland, California.

If you’re in the Northern Colorado area, come check it out! Cheer me on! Or jeer and laugh at me if I fail!

Here’s the Facebook link if you use that service:
http://www.facebook.com/events/332907456791769/


Reduction

Tuesday, 07 July 2012

“Reduction” is what I’ve been calling a certain process I use when processing sounds during composition. I’m probably not the only person to do this, I just don’t know of others. It involves a certain kind of noise reduction DSP. The audio editor is my main tool, where I do the vast bulk of work. The specific one I currently use, Amadeus Pro has a noise reduction function to it that can sample a selected sound. It’s usually used for, and was presumably designed to be used for, a hiss or rumble that runs through the entire track, but is isolated in one spot so it can be sampled. After sampling, the algorithm would scan the entire audio file for that sound, and attempt to remove all instances of it while leaving the rest of the audio mostly intact (but it does leave plenty of artifacts, when used as it was intended).

Not long after I first started to use this audio editor a number of years ago, I experimented with what might happen when you use the “desirable” signals instead of the “undesirable” noise as the sample that the noise reducer works on? What might happen if, for example, you sampled the entire audio file, and then removed that noise from itself?

The answer to that question is that, surprisingly, not all of the audio file is removed, there are some artifacts that are left over. For a piece called “Erased Silent Night (after Rauschenberg)” (sorry no sound clip), I had to subject the original recording of “Silent Night” by Simon and Garfunkel to about fifteen or twenty repeated noise reduction passes before I got the result approaching silent. Even so, it is still not completely silent. As Robert Rauschenberg‘s “Erased De Kooning” is not completely blank. (Rauschenberg’s Artsy page: https://artsy.net/artist/robert-rauschenberg).

A more satisfying use of this effect has been when I am working with a set of sounds instead of a single sound. One sound set I have used so far was the first twelve numbered “Constant” drones released on various netlabels and by various artists, the result of that work was my 2008 release “Inconstant“.



Another sound set I’ve used was a selection of five recordings of Thomas Park blowing on bottles, as the provided samples in one of Marc Weidenbaum‘s Disquiet Junto series of creative challenges for sonic practicioners.



The most recent set of sound sources that I selected as the subject for this process were the loops that were included on the FM3 Buddha Machine and Buddha Machine 2.

In each case there is a collection of sounds which have a numerical order, there were chronologically 12 Constant releases at the time I composed “Inconstant”, there were 5 numbered bottle sounds in the provided sound sources for the “Palindrone” Junto, there are nine loops in both the Buddha Machine and the Buddha Machine 2, featured chronologically one can presume that there is a 1st, 2nd, 3rd and so on.

The process I normally use in reduction with a numbered sound set is to begin with an audio file set as the target file, and then take the next audio file in sequence and use that as the first sound sampled and used to remove ‘noise’ from the primary target file. Then I’ll go on in sequence using the next sound file as the sample base for noise reduction, and the next, and so on… eventually using all the sounds in the set in order. What I’m left with in the end is a ‘reduced’ target sound that one might say is elementally different from all other sounds included in the set, given that all other sounds in the set were subtracted from it. Then I’ll move on, making the the next file in the sequence the target sound, and I’ll use the sound that follows it as the first basis for noise reduction, and I’ll continue moving around the sequence in order sampling and removing that noise, on and on and on until complete.

In the case of the most recent release “Buddha Reduction“, I first went through this process for all nine sound files, then I did it again in reverse order, leaving me 18 reduced files for both the first Buddha Machine and the Buddha Machine 2. Simple math tells me that there were 81 forward processing sessions, and 81 backward processing ones for each reduction, so in total for this release there were 324 processing sessions, not including processing for reverb and delay.

“Buddha Reduction 1” uses the sounds reduced from the Buddha Machine. The files processed in forward order were treated with reverb, to make the rather ‘denuded’ sounds more palatable to listen to. The files that were processed in reverse order were treated with a delay. The tempo of the delay was based on the perceived tempo of the original unprocessed sound file. Each file is introduced one by one into the mix according to its number in the set, and as each file is introduced, its tempo becomes the dominant one, affecting the delays of all other audible files in the mix at the time. “Buddha Reduction 2” follow exactly the same process, but uses the nine Buddha Machine 2 loops as its sound set.



This is, as you can imagine, a somewhat tedious process to work with. I actually think that tedium and process music ought to be bedfellows, so this is acceptable to me.

I hope this describes the process well enough. Feel free to ask for clarification if my description was too confusing. Knowing the way I write, I expect that it is likely!


ETA:
Here’s the most recent example: a straight reduction, with no further processing.





Buddha Reduction

Monday, 07 July 2012

The newest release on Vuzh Music, released today, is a piece of process music based upon the sounds in FM3’s Buddha Machine & Buddha Machine 2, the “Buddha Reduction” by C. Reider utilizes a process called reduction, which is a systematized application of a very specific kind of noise reduction.

A longer blog post explaining the process will be published soon, until then, please listen to and/or download the new C. Reider release!



http://www.vuzhmusic.com/releases/buddha.html


Zip Problem?

Sunday, 06 June 2012

A few people had reported problems un-zipping the folder containing the latest release on Vuzh Music by Jeph Jerman: 43′ 41″ for Chris Reider.

With many thanks to Thomas Park, this problem was corrected!

If you had any issues with that file, please try again:

http://vuzhmusic.com/releases/4341.html


43’41” for Chris Reider

Monday, 06 June 2012

Jeph Jerman is a deservedly well-respected figure in the world of experimental music. His 35+ year career has touched on many interesting paths, from industrial noise to freakout skronk to his more recent interest in interacting with man-made and natural objects to produce quiet acoustic sound environments. His practice is about “what happens when we listen”.

Vuzh Music is very happy indeed to release this set of drones, two pieces based on gongs and one from an e-bowed psaltery.


43’41” for Chris Reider
by Jeph Jerman




DOWNLOAD:
http://vuzhmusic.com/releases/4341.html



Free for downloading, of course. As it should be.


Next Year Geometry

Monday, 06 June 2012

I’m a little late to post this notification, but I’d like to announce a new node to the ever expanding line of in-between experimental music housed at the Dystimbria netlabel.

Every release on Dystimbria samples from and builds upon the previous releases, the idea is to find a space to occupy between ambient and noise music. Anyone can approach me if they want to participate.

The newest artist to do so is David Nemeth, who uses all previous Dystimbria releases to cobble together his stupendous “Next Year Geometry”.

This and all other releases can be downloaded for free at Dystimbria.cc


Gravity Is Very Compelling

Monday, 05 May 2012

The April release from Vuzh Music is by the Utah composer Ross Hagen known by the recording name Encomiast.





This dark, atmospheric plunge into an unending abyss was composed as the backing music to a staged production of the play “Eurydice”. The artist describes: “The play is retelling of the Orpheus myth from the point of view of Eurydice. The piece attempts to roughly parallel the play’s 3-movement plot structure, moving from our world, to the underworld, and finally to the tragic meeting of the two.”

Download or stream “gravity is very compelling” for free at http://vuzhmusic.com/releases/gravity.html


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