Podcast appearances and mentions of jean claude risset

Episode 166 Chapter 26, Early Computer Music (1950–70). Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let's get started with the listening guide to Chapter 26, Early Computer Music (1950–70).  from my book Electronic and Experimental music.   Playlist: EARLY COMPUTER MUSIC (1950–70)   Time Track Time Start Introduction –Thom Holmes 01:40 00:00 1.     Tones from Australia, 1951. All produced using the CSIR Mark 1 computer built at the CSIR's radio-physics division in Sydney. The computer had a speaker—or hooter—to signal when operations were completed. A clever programmer thought of manipulating the signal tones into a melody. 02:18 01:42 2.     Alan Turing's computer music. 1951. Recording made of tones generated by the mainframe computer at the Computing Machine Laboratory in Manchester, England. Snippets of the tunes God Save the King, Baa, Baa Black Sheep, and Glenn Miller's swing classic In the Mood. Plus, the voices of computer lab members listening to the sound as it was recorded. Original acetate recording from 1951 restored by University of Canterbury composer Jason Long and Prof Jack Copeland. 01:55 02:36 3.     Max Mathews, “Numerology” (1960). Introduced by a narrator. From the album Music From Mathematics, Bell Telephone Laboratories. While working at Bell Labs in telecommunications research, Max Mathews was one of the earliest computer engineers to use a general-purpose computer to program music and digitally synthesize musical sound. His programming language Music I allowed composers to design their own virtual instruments, a breakthrough during those pioneering days of computer music. “Numerology” was composed to demonstrate the various parameters, or building blocks, available to the composer using this programming language: vibrato (frequency modulation), attack and decay characteristics, glissando, tremolo (amplitude modulation), and the creation of new waveshapes. 02:49 04:38 4.     John Robinson Pierce, “Beat Canon” (1960). Introduced by a narrator. From the album Music From Mathematics, Bell Telephone Laboratories. Played by IBM computer and direct to digital sound transducer. 00:52 07:28 5.     James Tenney, “Noise Study” (1961). So named because “each of the ‘instruments' used in this piece includes a noise-generator.” 04:24 08:20 6.     “Bicycle Built For Two (Accompanied)” (1963) From the demonstration record Computer Speech - Hee Saw Dhuh Kaet (He Saw The Cat), produced by Bell Laboratories. This recording contains samples of synthesized speech–speech artificially constructed from the basic building blocks of the English language. 01:17 12:42 7.     Lejaren Hiller, “Computer Cantata, Prologue to Strophe III” (1963). From the University Of Illinois. This work employed direct computer synthesis using an IBM 7094 mainframe computer and the Musicomp programming language. 05:41 14:00 8.     J. K. Randall, “Lyric Variations For Violin And Computer” (1965-1968). J. K. Randall's piece had a complex section that pushed the limits of computer processing power at the time. Although the section consisted of only 12 notes, each note was 20 seconds long. Each note overlapped with the next for 10 seconds, making the total length of the section only about 2 minutes. But this required 9 hours to process on one of the fastest computers of the day. 03:34 19:40 9.     John Robinson Pierce, “Eight-Tone Canon” (1966). “Using the computer, one can produce tones with overtones at any frequencies.” Produced at Bell Telephone Laboratories. 03:53 23:14 10.   Pietro Grossi, “Mixed Paganini” (1967). “Transcription for the central processor unit of a GE-115 computer of short excerpts of Paganini music scores. Realized at Studio di Fonologia musicale di Firenze (Italy). 01:46 27:08 11.   Pietro Grossi, “Permutation of Five Sounds” (1967). Recording made on the Italian General Electric label. Realized at Studio di Fonologia musicale di Firenze (Italy). Distributed in 1967 as a New year gift by Olivetti company. 01:33 28:54 12.   Wayne Slawson, “Wishful Thinking About Winter” (1970). Produced at Bell Telephone Laboratories. 03:53 30:26 13.   John Cage and Lejaren Hiller, “HPSCHD” excerpt (1967-1969). The piece was written for Harpsichords and Computer-Generated Sound Tapes. Hiller and Cage staged a lively public performance in 1968 at the University of Illinois in Urbana. The first 10,000 individual recordings came with an insert in the form of a computer printout insert designed to allow the listener to program their own performance. And I quote from the jacket: "The computer-output sheet included in this album is one of 10,000 different numbered solutions of the program KNOBS. It enables the listener who follows its instructions to become a performer of this recording of HPSCHD. Preparation of this material was made possible through the Computing Center of the State University of New York at Buffalo." I happen to have three copies of this album, each with the printout. 07:20 34:16 14.   Jean-Claude Risset, “Computer Suite From "Little Boy" (1968).  Realized at Bell Laboratories. 04:28 41:46 15.   Peter Zinovieff, “January Tensions” (1968). Zinovieff's notes, from the album: “Computer composed and performed. This piece is very much for computer both in its realization and composition. The rules are straightforward. The computer may begin by improvising slowly on whatever material is first chooses. However, once the initial choices are made then these must influence the whole of the rest of the composition. The original sounds must occasionally be remembered and illustrated but a more and more rigid structure is imposed on the randomness. The piece was electronically realized and composed in real time by an 8K PDP8/S and electronic music peripherals.” 09:48 46:12 16.   Barry Vercoe, “Synthesism” (1969). Realized in the Computer Centers of Columbia and Princeton Universities using MUSIC 360 for the IBM 360 mainframe computer. Vercoe authored this musical programming language. 04:33 56:00 17.   Charles Dodge, “The Earth's Magnetic Field” excerpt (1970). Composer Charles Dodge helped close the gap between computer music and other electronic music practices in 1969– 70 by working on computer code at Princeton University and then traveling to Bell Labs to have the code synthesized by a mainframe computer. The work, “Earth's Magnetic Field” (1970) was an outcome of this process. Dodge realized this piece by fusing computer composition with synthesis, one of the earliest examples of a practice that would become the norm many years later but that was quite difficult at the time. He used a “general- purpose sound synthesis program” written by Godfrey Winham at Princeton University. Every sound in the piece was computed into digital form using the IBM/ 360 model 91 at the Columbia University Computer Center and then converted into analog form at the Bell Telephone Laboratories. 07:45 01:00:32 18.   Irv Teibel, "Tintinnabulation (Contemplative Sound)" from Environments (New Concepts In Stereo Sound) (Disc 2) (1970 Syntonic Research).  One side of the record is a rare work of purely electronic computer music in a series that otherwise consisted of natural ambient sounds. It used computer-generated bell sounds, falling back on Teibel's experience processing sounds on an IBM 360 mainframe computer at Bell Labs. The record was promoted for meditation. A sticker on the cover read, "A Sensitizer for the Mind." From the liner notes: “As an illustration of the possibilities currently under examination, Syntonic Research decided to experiment with bell sounds as an environmental sound source. . . . Tintinnabulation can be played at any speed, from 78 to 16 rpm, in full stereo. At different speeds, the sounds change in tone and apparent size, although the harmonics remain unchanged. The effect, unlike real bells, is fully controllable by the use of your volume, bass, and treble controls.” 30:10 01:08:16   Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.

Episode 146 Chapter 07, Computer Music Basics. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let's get started with the listening guide to Chapter 07, Computer Music Basics from my book Electronic and Experimental music.   Playlist: Early Computer Synthesis     Time Track Time* Start Introduction –Thom Holmes 01:30 00:00 1 Max Mathews, “Numerology” (1960). Direct computer synthesis using an IBM 7090 mainframe computer and the Music III programming language 02:45 01:32 2 James Tenney, “Analog #1: Noise Study” (1961). Direct synthesis and filtering of noise bands at Bell Labs' facilities. 04:24 04:04 3 Lejaren Hiller, “Computer Cantata” (third movement) (1963). Direct computer synthesis using an IBM 7094 mainframe computer and the Musicomp programming language. 05:41 08:28 4 Jean-Claude Risset, “Mutations I” (1969). Used frequency modulation. 10:23 14:06 5 Charles Dodge, “The Earth's Magnetic Field” (Untitled, part 1) (1970). Used an IBM mainframe computer and the Music 4BF programming language to convert geophysical data regarding the Earth's magnetic field into music. 14:00 24:28 6 Laurie Spiegel, “Appalachian Grove I” (1974). Used the Groove program at Bell Labs. 05:23 38:22 7 Curtis Roads, “Prototype” (1975). Used granular synthesis. 06:11 43:48 8 John Chowning, “Stria” (1977). Used the composer's patented FM synthesis algorithms. 05:14 50:00 9 Jean-Baptiste Barriere, “Chreode” (1983). Granular synthesis using the Chant program at IRCAM; computer-controlled organization of material—a grammar of musical processes prepared with IRCAM's Formes software. 09:24 55:10 10 Barry Truax, “Riverrun” (1986). Composed using only granulated sampled sound, using Truax's real-time PODX system. 19:42 01:04:30   Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.

Our guest today is Jonathan Wyner - a mastering engineer and educator based out of Boston, Massachusetts.  He is the chief engineer at  M-Works Studios in Somerville and teaches at Berkeley College of Music. In 2021 he was president of AES, The Audio Engineering Society. He's worked with Jean-Claude Risset, James Taylor, David Bowie, Aimee Mann, and Miles Davis, among many others. We talk with Jonathan about transferring and mastering reels of David Bowie records, spawning creativity in a world of limitless possibilities, AI and getting beyond the lowest common denominator, conversations and expectations with mixing engineers, deconstructing what loudness actually is, and caring about yourself and your craft. This episode's music is brought to you by nxtime from New York City produced by Mike Rogers. For more information on nxtime, point your web electrons to ⁠https://⁠nxtimemusic.com For more information about Jonathan: ⁠https://college.berklee.edu/faculty/jonathan-wyner⁠ ⁠https://www.aes.org/aes/jonathanwyner/⁠ ⁠https://www.m-works.com/ --- Support this podcast: https://podcasters.spotify.com/pod/show/speaksvolumes/support

In this episode of Backstage Jazz, musician Matt Smiley shares a few tracks with us from his upcoming double CD.   Matt Smiley is a bassist, composer, and educator who has performed in various musical settings over the last fifteen years. He has a bachelor's degree in music industry with a jazz studies minor from James Madison University and a Master of Music in jazz studies from the University of Northern Colorado.    An avid and enthusiastic musician, Smiley has performed nationally and internationally at universities nationwide and the Montreux, North Sea, and Montreal Jazz Festivals.    Currently, Matt resides in Fort Collins, Colorado, where he plays jazz weekly with the Subterraneans at Ace Gillett's. He has recently performed with legendary jazz musicians Terrell Stafford and Greg Osby and worked with composer Alvin Lucier. Matt has assisted Dr. Paul Elwood with the University of Northern Colorado's Open Space Music Festival for the last five years and worked with festival artists Stephen Drury, Christian Wolff, and Jean-Claude Risset.    Matt released Quartet Art on the Dazzle label in 2011, featuring David Pope on saxophone. Peaceful Contact Proved Elusive, with guitarist Alex Nauman, followed in 2014 as a limited-edition vinyl. Matt is featured on several Dazzle releases by artists Josh Quinlan, Annie Booth, and Ryan Fourt.  --- Send in a voice message: https://podcasters.spotify.com/pod/show/backstagejazz/message

Mit Werken von Conlon Nancarrow, Klarenz Barlow, Jagyeong Ryu (UA), Jean-Claude Risset, Ludger Brümmer, u.a.; Soloklavier: Susanne Achilles [25.09.2021] Im Rahmen des Projektes »EASTN-DC« werden selbstspielende Klavierwerke im ZKM Foyer präsentiert. Die wohl gelungensten akustischen Musikmaschinen sind durch die Integration von Instrument und Computer steuerbare Konzertflügel. Deren Entwicklung folgt einer langen Historie von autark spielenden Player Pianos bis hin zu Nancarrows präziser Papierrollen-Steuerung mit pneumatischer Mechanik. Computerflügel ermöglichen eine ungeahnte rhythmische Präzision, die sich bei mehreren verwendeten Instrumenten auch als Raumklang artikuliert. Mit freundlicher Unterstützung des ComputerStudio der Hochschule für Musik Karlsruhe, das dieses Konzert mit der Leihstellung von drei Computerflügeln ermöglicht, werden im großen Klangraum des Foyer des ZKM insgesamt vier Computerflügel von einem Computer gesteuert.

Des musiques pour illustrer ces moments : KRAFTWERK et des extraits de "Radio-Activity", Pierre SCHAEFFER, Herbert HEIMER & Karlheinz STOCKHAUSEN, Jean-Claude RISSET......

Des musiques pour illustrer ces moments : KRAFTWERK et des extraits de "Radio-Activity", Pierre SCHAEFFER, Herbert HEIMER & Karlheinz STOCKHAUSEN, Jean-Claude RISSET......

Daria Semegen's chamber, orchestral, vocal and electronic music with dance and film tends toward the experimental. Her first score for instruments and musique concrète tape is from 1965, followed by tour de force electronic music works she crafted with classic analog studio techniques. Her work was featured in articles, books and in E. Hinkle-Turner's 1991 doctoral dissertation at Univ. of Illinois. In 1995 her music was the subject of an international seminar at King's College, Univ. of London. Semegen was honored along with digital music trailblazers Jean-Claude Risset and John Chowning at an international electroacoustic music conference in 2015. Alt-music's Forced Exposure called her electronic works “heterodyning stereo-heavy monsters as vital as any of the GRM/STEIM/SECAM Darmstadt output.” Critic DJ Spooky wrote, “the dynamic range of sounds is absolutely refreshing, flying in the face of what's been going on in contemporary music culture.” Music: Vignette by Daria Semegen, performed by Cathy Callis Recording of Arc, by Daria Semegen website Co-hosts: Joseph Bohigian and Niloufar Nourbakhsh Follow us on Facebook, Instagram, and Twitter. ensembledecipher.com Contact us at decipherists@ensembledecipher.com. Decipher This! is produced by Joseph Bohigian; intro sounds by Eric Lemmon; outro music toy_3 by Eric Lemmon.

Episode 41 Sounds for Museums Sound Art to Accompany Exhibits Playlist François Baschet, Bernard Baschet, and Jacques Lasry, “Sonatine (3 Mouvements)” from Structures for Sound (1965 BAM). The exhibition 'Structures For Sound-Musical Instruments' by François and Bernard Baschet was shown at The Museum of Modern Art, New York, from October 4 to December 5, 1965. Although not heard in the exhibit, this set of compositions was co-marketed by the museum and BAM and clearly intended as a takeaway souvenir. The recordings were made in France, and released there as Les Structures Sonores Lasry-Baschet, then repackaged for the US market and exhibit. The piece was written by Jacques Lasry. Various Artists, Art By Telephone (1969 Museum Of Contemporary Art Chicago). Artists were asked to phone-in instructions for a work of art to be exhibited at Art by Telephone, held at the Museum of Contemporary Art Chicago. The museum released a recording of the phone calls and sold it at the exhibit. Here are four excerpts by John Giorno, Dick Higgins, Sol Lewitt, Richard Serra, and Jack Burnham. In total, 38 artists provided instructions that were included on the album. Audio Arts: Volume 3 No 4 Side A (1977 Audio Arts). Excerpts from a radio work by John Carson broadcast by Downtown Radio, Belfast in 1977. The program was a compilation of recordings made in June 1977 at Documenta VI, an international exhibition of contemporary art in Kassel, West Germany. We hear two excerpts, the first from artist Wolf Vostell which opens with the sound of bubbling water and the second a sound work by Achim Freyer. These audio works played in the exhibit. Other portions of the complete cassette recordings alternated between statements/interviews and sound environments/installations. Audio Arts was a magazine in continuous publication for 33 years and ran to 24 volumes, each of four issues. Various artists, from Sound (1979 Los Angeles Institute of Contemporary Art). Four of the tracks from this collection are included: Terry Fox, “Labyrinth Scored For II Cats” (1979); Jim Gordon, “Piece For Synthesizers, Computers And Other Instruments” (1979); Doug Hollis, “Aeolian Harp” (1975-76), composed 1975-76 at the San Francisco Exploratorium; Bill Fontana, “Kirribilli Wharf” (1979). Album produced for SOUND. An exhibition of sound sculpture, instrument building and acoustically tuned spaces. Los Angeles Institute of Contemporary Art July 14-August 31, 1979. P.S.I. New York, September 30-November 18, 1979. Jeff Gordon, “Everyone's An Artist” (1984). Vocal Jeff Gordon and Mug Maruyama; Programming, Graham Hawthorne; Emulators/Keyboards, Jeff Gordon. Gordon produced Revolutions Per Minute (The Art Record), a collection of audio tracks by artists released as a double LP. This track by Gordon was not included in that release but I think was used for a traveling exhibition featuring sound, The RPM Touring Exhibitions, designed by Gordon and his wife Juanita, that toured the US and Europe for over four years, including The Tate Museum in London. Laurie Anderson, “The telephone,” “The polaroid,” “The sheet,” “The wedding dress,” “The bathrobe” from La Visite Guidée (1994). Music: Laurie Anderson; Voice: Sophie Calle. Exhibition catalogue consisting of artist's book and Audio CD published in conjunction with the show held March 27- 29, 1994. The work consisted of a total of 21 short compositions. We hear five consecutive tracks from the collection. This audio was provided on a cassette for the exhibit, which visitor's played on a Sony Walkman while taking a guided tour of the Sophie Calle's exhibition Absent. Steven Vitiello. World Trade Center Recordings: Open House Bounce (1999). A recording from the 91st floor of the World Trade Center, Tower One made with contact microphones placed on the inside of the windows. This recording was only published as part of a CDR sold at an Open House Exhibition in the fall of 1999. Various recordings were made during a 6-month residency. This one in particular picked up a number of passing planes and helicopters. Various artists, Whitney Biennial 2002 (2002 Whitney Museum Of American Art). A CD was included with the 292-page hardcover catalogue "Whitney Biennial 2002" published for the same-titled exhibition at the Whitney Museum Of American Art, March 7-May 26, 2002. Four tracks are heard: Maryanne Amacher, “A Step Into It, Imagining 1001 Years Entering Ancient Rooms” (excerpt); Meredith Monk, “Eclipse,” with performers Ching Gonzalez, Katie Geissinger, Meredith Monk, Theo Bleckmann; Marina Rosenfeld, “Delusional Dub;” Tracie Morris, “Slave Sho' To Video A.k.a. Black But Beautiful.” 33 RPM: Ten Hours of Sound From France (2003 235). Exhibition companion compilation to San Francisco Museum of Modern Art, Sept. 6-14, 2003, listening room program. 33 RPM consisted of ten one-hour segments that were played on a rotating schedule at the museum during the exhibition. This was the fourth installment of an ongoing series at the museum that presented sound art scene in a variety of countries. We include the following tracks from this compilation: Kasper T. Toeplitz, “PURR#2” (2003); Jean-Claude Risset, “Resonant Sound Spaces/Filters” (2002); Mimetic, “evolution” (2003); and Lionel Marchetti, “À rebours” (1989). Jane Philbrick, "Voix/e" (2003-04 SW Harbor Songline). Installation two lightboxes, with color Duratrans (large-format backlit color transparency film), 48 x 24 x 6; two inset Alpine speakers, synthesized voice track, 9 1/2 mins. looped.; two companion LCD-screen DVDs. On view at Real Art Ways, Hartford, CT, and Consolidated Works, Seattle (2004). Audio work created by Jan Philbrick at the Center for Spoken Language Understanding, Oregon Graduate Institute. The piece consists of Philbrick's reading of the "Song of Solomon," modified and edited using voice-gendered speech synthesis to speak bride, groom, and companion parts. Marko Timlin, “Audible Light” (2017), Created by Marko Timlin, a Finnish sound artist whose work has frequently been integrated into museum installations. This installation, Audible Light, created sound directly out of light, “work inspired by Evgeny Sholpo's Variophone instrument developed in 1930.” Solo exhibition, Oksasenkatu 11 in Helsinki. Not to be confused with the 2000 museum exhibition called Audible Light at the Museum Of Modern Art, Oxford, to be featured in a future podcast. Opening montage: sounds from the recordings of Art By Telephone (1969 Museum Of Contemporary Art Chicago) and Audio Arts: Volume 3 No 4 Side A, cassette (1977 Audio Arts). Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. For additional notes, please see my blog Noise and Notations.

This Episode: When Computer Music was Experimental, 1951-1971 Early Recordings of Computer Synthesis Playlist Tones from Australia, 1951. All produced using the CSIR Mark 1 computer built at the CSIR's radiophysics division in Sydney. Alan Turing's computer music. 1951. Recording made of tones generated by the mainframe computer at the Computing Machine Laboratory in Manchester, England. Snippets of the tunes God Save the Queen, Baa, Baa Black Sheep, and Glenn Miller's swing classic In the Mood. Plus the voices of computer lab members listening to the sound as it was recorded. Original acetate recording from 1951 restored by University of Canterbury composer Jason Long and Prof Jack Copeland. Incidentally, synthesizing music …. Beat Canon (1960) by Dr. J. R. Pierce. From the album Music From Mathematics, Bell Telephone Laboratories. Numerology (1960) by Max Mathews. From the album Music From Mathematics, Bell Telephone Laboratories. Noise Study (1961) by James Tenney, from Music for Mathematics, Bell Labs, 1961 expanded edition. Bicycle Built For Two (Unaccompanied and Accompanied versions) (1963) From the demonstration record Computer Speech - Hee Saw Dhuh Kaet (He Saw The Cat), produced by Bell Laboratories. Computer Cantata, Prologue to Strophe III (1963) by Lejaren Hiller. From the album Computer Music From The University Of Illinois (1963). This work employed direct computer synthesis using an IBM 7094 mainframe computer and the Musicomp programming language. Lyric Variations For Violin And Computer (1965-1968) by J. K. Randall. From the record A Mitzvah For The Dead For Violin And Tape / Lyric Variations For Violin And Computer on Vanguard Records. Permutation of Five Sounds (1967) by Pietro Grossi. From the album GE-115 - Computer Concerto on the Italian General Electric label. Realized at Studio di Fonologia musicale di Firenze (Italy). Distributed in 1967 as a New Year's gift by Olivetti company. Mixed Paganini (1967) by Pietro Grossi, also from the album GE-115. HPSCHD by John Cage and Lejaren Hiller (1967-1969). The piece was written for Harpsichords and Computer-Generated Sound Tapes. January Tensions (excerpt) by Peter Zinovieff. Computer performed and composed in his private studio outside of London. Synthesism (1970) by Barry Vercoe. From the album Computer Music released on Nonesuch. Realized in the Computer Centers of Columbia and Princeton Universities using MUSIC 360 for the IBM 360 mainframe computer. Vercoe authored this musical programming language. Wishful Thinking About Winter (1970) by Wayne Slawson. From the album Voice of the Computer: New Musical Horizons (1970). Produced at Bell Telephone Laboratories. Eight-Tone Canon (1970) by J.R. Pierce. From the album Voice of the Computer: New Musical Horizons (1970). Produced at Bell Telephone Laboratories. Computer Suite From "Little Boy" (1970) by Jean Claude Risset. From the album Voice of the Computer: New Musical Horizons (1970). Produced at Bell Telephone Laboratories. The Earth's Magnetic Field by Charles Dodge (1971). From Nonesuch Records. Every sound in the piece was computed into digital form using the IBM/ 360 model 91 at the Columbia University Computer Center, and then converted into analog form at the Bell Telephone Laboratories. Computer says farewell, Music from Mathematics (1960).   The Archive Mix in which I play two additional tracks at the same time, to see what happens. Capriccio N. 5 (1967) by Pietro Grossi. From the album GE-115 - Computer Concerto on the Italian General Electric label. Computer synthesized sound. Pitch Variations (1960) by Newman Guttman. From the album Music From Mathematics, Bell Telephone Laboratories. From the album Music From Mathematics, Bell Telephone Laboratories.   Read my book: Electronic and Experimental Music (sixth edition), by Thom Holmes (2020).  

Guilherme Carvalho est Maître de conférences dans le département de musique et musicologie de l'université Paul Valéry de Montpellier. La musique est tellement présente dans notre vie de tous les jours qu'on en vient à oublier qu'elle ne sort pas par magie des écouteurs. Nous discutons dans cet épisode des implications qu'ont eu les nouvelles technologies de l'information dans ce domaine. De la production de sons impossibles à réaliser naturellement à la consommation de masse en passant par la diffusion directe entre les créateurs et leur public ce sont tous les aspects de la musique qui ont été impacté d'une manière ou d'une autre. Voici quelques liens pour illustrer certains points abordés lors de la discussion: . des reprises et collages "par écrit": Luciano Berio, Sinfonia (1968), 3e mouvement . des enregistrements comme matière sonore: Bernard Parmegiani, Du pop à l'âne (1969) . de manière plus radicale, et en soulevant exprès la question des droits d'auteurs: John Oswald, Dab de l'album Plunderphonics (1989) . une pièce entièrement composée par un ordinateur: Invention (after Bach), partie des Experiments in Musical Intelligence de David Cope. . Gérard Assayag et Georges Bloch, de l'Ircam, parlent du logiciel OMax, qui improvise avec des musiciens. . une pièce très fortement formalisée et calculée par ordinateur, mais pas entièrement: Julien Bilodeau, A coups (2004) . l'un des premiers exemples de son entièrement numérique, en 1961: IBM 7094 joue et chante Daisy Bell. (C'est le premier ordinateur qui a chanté; la célèbre scène de 2001 où HAL est progressivement éteint fait référence justement à cette prouesse technique, encore très récente à l'époque.) . des glissandos continus dans le 2e mouvement (Fall) de Computer Suite for Little Boy (1968) de Jean-Claude Risset. . un accéléré continu, aussi de Risset. Quelques-unes des propres pièces de G. Carvalho (dont plusieurs ont été composées avec l'assistance d'un ordinateur) sont présentes sur sa page soundcloud.

Iniciamos aquí una nueva serie de programas, titulada “A la escucha del virus”, en la que intentaremos acompañarles mientras atravesamos esta situación, tan excepcional, generada por la pandemia que actualmente nos afecta a todos. La propuesta consiste, básicamente, en escuchar ciertas obras sonoras desde el novedoso marco -conceptual, pero también existencial- que estas terribles circunstancias representan. Quizás una interpretación renovada de esos trabajos pueda ayudarnos, en alguna medida, a entender mejor los diferentes procesos, de muy distinto orden, que todos estamos llamados a atravesar en estos días extraños. Comenzamos esta serie planteando una exploración radiofónica del concepto de virus, (des)orientados por la poética del escritor estadounidense William S. Burroughs (1914-1917). Además de algunos de sus "cut-ups", escuchamos obras que le fueron dedicadas, como "Rag for William Burroughs", del dúo MATMOS (formado por Martin Schmidt y Drew Daniel), "Language is a virus", de Laurie Anderson y "La muerte de William Burroughs", de John Giorno. En la segunda mitad del programa presentamos otra serie de trabajos -más bien vinculados al dominio de la creación electroacústica- que también pueden ser escuchados a partir de la metáfora vírica. Es el caso de la obra titulada "Living Structures", del compositor sueco Peter Lundén, "Half Life", de Curtis Roads (quien, como Lundén, emplea en sus composiciones técnicas de síntesis granular) o "Mutations", de Jean-Claude Risset. Finalmente escuchamos dos piezas extraídas de una recopilación recientemente coordinada por el murciano Sergio Sánchez dentro de su netlabel República Ibérica Ruidista, que lleva por título "Confinescapes" y que reúne "ideas, sensaciones, y discursos sobre la reclusión". Ofrecemos dos de las piezas incluidas en esta antología: “Pandemia”, una composición firmada por Mary X (uno de los pseudónimos del propio Sergio Sánchez) y "Retroviral Drones", de Erizonte (Julián Sanz). Acompañamos todas estas audiciones de algunas citas textuales extraídas del primer capítulo (titulado "La voz límite como voz vírica") de "La voz límite. Una aproximación estética a la vocalidad teratológica desde el arte sonoro", tesis doctoral de Miguel Álvarez-Fernández (accesible gratuitamente en Internet). Escuchar audio

Depuis une semaine on parle du travail dans Récréation Sonore et ça va continuer jusqu’au 16 février. En marge, on fera deux tours par le Conservatoire de Pantin et on écoutera les deux premiers épisodes d’une série consacrée à la création documentaire… Des facteurs d’instruments et des agriculteurs Dimanche 9 février. Ce soir on part d’abord à la rencontre d’artisans : « Les facteurs / passeurs d’instrument » est un documentaire qui nous fait rencontrer plusieurs fabricants de flûtes. Musiciennes de formation, c’est pendant leurs études en réalisation documentaire à l’INA que Phane Montet et Alice Boccara ont eu l’idée de ce documentaire – qui devrait bientôt donner une série – afin, comme elles l’expliquent, d’”entendre les instruments d’une autre manière”. On va ensuite en Charente, avec Ambroise Cousin, étudiant au Créadoc, qui s’est intéressé à une famille d’agriculteurs avec, en ligne de mire, la transmission d’une exploitation d’une génération à l’autre. On suit Mathieu, qui s’apprête à succéder à son père à la tête de la ferme familiale. Ambroise Cousin a voulu raconter un quotidien et “pour cela, nous explique-t-il, il faut vivre avec les gens, il faut le vivre pour pouvoir le raconter”. Donc on cherche à retrouver des litres d’alcool perdu, on prend des conseils en matière de semis, on choisit un herbicide, on cherche une recette de boudin et on trinque, enfin, au cochon qui vient d’être tué et cuisiné. “Le Temps qu’il faut”, c’est notre long métrage de ce soir. Pour tout savoir de la création sonore On continue avec le premier épisode d’une série consacrée à la création documentaire : c’est le Collectif Lundi Soir qui vous propose, en six épisodes (dans chaque émission jusqu’à fin mars) de tout apprendre sur cet univers. Conservatoire de Pantin #1 Enfin, on conclut cette émission avec le studio d’électroacoustique du conservatoire de Pantin : à l’origine, le morceau que nous écoutons ce soir devait être diffusé le 8 mars, dans notre cycle intitulé “ce qui se cache sous”… nous l’écoutons finalement ce soir, et c’est un hommage au compositeur Jean-Claude Risset signé Grégoire Terrier. Et on retrouvera, la semaine prochaine, le conservatoire de Pantin, pour une nouvelle œuvre d’un élève de la promotion en cours… La semaine prochaine, on reste ensemble et je vous emmènerai dans le Morvan, à Paris et à Londres, dans le tiroir de Léa Minod, la laboratoire de Muriel KS et le grenier de John Lennon.

Attribution: Roberto Fabbriciani and Roberto Paci Dalò, in “Usmaradio” for the radio program “Voci” by Roberto Paci Dalò, recorded at Usmaradio, Summer 2019, cc by-sa al Una conversazione appassionante e rivelatrice con uno dei più grandi musicisti della scena internazionale. Roberto Fabbriciani ci trasporta dal mondo della musica a quello del suono sottolineando l'importanza della cultura elettronica anche per un mondo acustico e strumentale. Tanti racconti "backstage" nella sua collaborazione con Gigi Nono e Aldo Clementi disegnando percorsi e ricerche di cruciale importanza per il nostro presente. ° Roberto Fabbriciani è internazionalmente riconosciuto tra i migliori interpreti. Originale ed artista versatile, Roberto Fabbriciani ha innovato la tecnica flautistica moltiplicando con la ricerca personale le possibilità sonore dello strumento. Ha collaborato con alcuni tra i maggiori compositori del nostro tempo: Luciano Berio, Pierre Boulez, Sylvano Bussotti, John Cage, Elliot Carter, Niccolò Castiglioni, Aldo Clementi, Luigi Dallapiccola, Luis De Pablo, Franco Donatoni, Jindřich Feld, Brian Ferneyhough, Jean Françaix, Giorgio Gaslini, Harald Genzmer, Adriano Guarnieri, Toshio Hosokawa, Klaus Huber, Ernest Krenek, György Kurtág, György Ligeti, Luca Lombardi, Giacomo Manzoni, Bruno Maderna, Olivier Messiaen, Ennio Morricone, Luigi Nono, Goffredo Petrassi, Henri Pousseur, Wolfgang Rihm, Jean-Claude Risset, Nino Rota, Nicola Sani, Giacinto Scelsi, Dieter Schnebel, Salvatore Sciarrino, Mauricio Sotelo, Karlheinz Stockhausen, Toru Takemitsu, Isang Yun, molti dei quali gli hanno dedicato numerose ed importanti opere. Con Luigi Nono ha lavorato a lungo, presso lo studio sperimentale della SWF a Freiburg, aprendo e percorrendo vie nuove ed inusitate per la musica. Ha suonato come solista con i direttori Claudio Abbado, Roberto Abbado, Bruno Bartoletti, Luciano Berio, Ernest Bour, Bruno Campanella, Aldo Ceccato, Riccardo Chailly, Sergiu Comissiona, José Ramón Encinar, Peter Eötvös, Vladimir Fedoseyev, Gabriele Ferro, Daniele Gatti, Gianandrea Gavazzeni, Gianluigi Gelmetti, Michael Gielen, Cristóbal Halffter, Djansug Kachidse, Bernhard Klee, Vladimir Jurowsky, Peter Maag, Bruno Maderna, Diego Masson, Ingo Metzmacher, Riccardo Muti, Marcello Panni, Zoltán Peskó, Josep Pons, Giuseppe Sinopoli, Arturo Tamayo, Lothar Zagrosek, e con orchestre quali l’Orchestra della Scala di Milano, l’Orchestra dell’Accademia Nazionale di Santa Cecilia, le Orchestre della Rai, London Sinfonietta, LSO, RTL Luxembourg, BRTN Brussel, Orchestre Symphonique de la Monnaie, WDR di Colonia, SWF Baden-Baden, Deutsches Symphonie-Orchester Berlin, Bayerischer Rundfunks, Münchener Philharmoniker. Ha effettuato concerti presso prestigiosi teatri ed istituzioni musicali: Scala di Milano, Filarmonica di Berlino, Royal Festival Hall di Londra, Suntory Hall di Tokyo, Sala Cajkowskij di Mosca, Carnegie Hall di New York e Teatro Colon di Buenos Aires ed ha partecipato a festivals quali Biennale di Venezia, Maggio Musicale Fiorentino, Ravenna, Londra, Edimburgo, Parigi, Bruxelles, Granada, Luzern, Warsaw, Salisburgo, Wien, Lockenhaus, Donaueschingen, Köln, München, Berlin, St. Petersburg, Tokyo, Cervantino. Ha inciso numerosi dischi molti dei quali premiati dalla critica ed è stato docente di flauto presso il Conservatorio “L. Cherubini” di Firenze e dei corsi di alto perfezionamento presso l’Università Mozarteum di Salisburgo. E’ autore di opere musicali e testi didattici adottati nei percorsi della didattica musicale internazionale, editi da Ricordi e Suvini Zerboni. Tra le sue recenti composizioni: Glacier in Extinction; Alchemies; Cantus; Suoni per Gigi; Quando sorge il sole; Zeus joueur de flûtes; Figaro il Barbiere (liberamente da Rossini); Grande, grande amore; Alluvione; Conversazione su Tiresia (di Andrea Camilleri).

Skaitmeninės muzikos pradininkas Jean-Claude Risset (1938-2016).Laidos vedėjai Šarūnas Nakas ir Mindaugas Urbaitis.

Skaitmeninės muzikos pradininkas Jean-Claude Risset (1938-2016).Laidos vedėjai Šarūnas Nakas ir Mindaugas Urbaitis.

  Rare Frequency Podcast 53: Many Happy Returns 1 Raymond Scott, "Ohio Plus" Manhattan Research Inc. (Basta) 2000 Time: 00:00-00:17 2 Raymond Scott, "The Wild Piece" Manhattan Research Inc. (Basta) 2000 Time: 00:17-04:16 3 Ekoplekz, "Sleng Zen" Unfidelity (Planet Mu) 2LP 2014 Time: 4:17-9:08 4 Nils Quak, "Octagonal Journey" Modular Anxiety (Umor Rex) LP 2013 Time: 9:07-15:54 5 Jean-Claude Risset, "Mutations" Music for Computer (Editions Mego) LP Time: 15:54-26:17 6 Sculpture, "Lingual Junk" Membrane Pop (Software) LP 2014 Time: 26:13-29:55 7 The Jist, "The Jist of Being In Between Jobs" The just (Va Fangool) CD 2014 Time: 29:50-37:20 8 Felix Kubin, "Piscine Ressonenz!" Zemsta Plutona (Gagarin/ZickZack) CD 2013Time: 37:20-42:23 9 Boris Hauf, "Dust" Soft Left at Westland (Mosz) CD 2005 Time: 42:23-46:05 10 C Spencer Yeh/Okkyung Lee/Lasse Marhaug, "Serious Cat’s Milk" Wake Up Awesome (Software) LP 2013 Time: 45:57-50:13 11 Coppice, "Hoist Spell " Big Wad Excisions (Quakebasket) 2014 Time: 50:12-57:20 12 Ursula Bogner, "Shepard Monde " Sonne=Black Box (Faitiche) CD 2011 Time: 57:20-1:00:02 13 Laurie Spiegel, "Appalachian Grove I " The Expanding Universe (Unseen Worlds) 2CD 2012 Time: 1:00:02-1:05:20 14 Ø, "Takaisin" Konstelaatio (Sähkö) CD 2014 Time: 1:05:20-1:12:18 15 Pete Um, "Norwegian Blues" The Old Album (Grist) CD 2008 Time: 1:14:28-end

Playliste de Christian Zanesi pour webSYNradio : BLUES WITH BEER, TABLE AND CHAIR, avec des créations de Michael SNOW, SCANNER, Ilhan MIMAROGLU, Lionel MarETTI, Jean-Claude RISSET, Trevor WISHART, Taylor DEUPREE, Meredith MONK, Bernard PARMEGIANI

"The sun's shining, I'm wearing my sombrero, and through my open window floats the gentle splosh and gurgle of folk falling into the river — all of which can mean only one thing: summer's here! So buckle on your flip-flops, crank the ghettoblaster up to eleven, pop open a bottle of 1994 Châteauneuf-du-Pape and kick back to the balmy sounds of the UNITY GAIN TEMPLE SUMMER SYNCRETASM!"   Unity Gain Temple is a full-time member of Communty (Massive Sonoral Carpets, Nefarious International Manoeuvres, Looting, Banditry, Ambushes, Car-Jacking, Physical Attacks and Killings). You can email him here.   Tracklisting: Kaija Saariaho – Jardin Secret I Denis Smalley – Wind Chimes Thomas Köner – Nival George Benjamin – Octet Brian Ferneyhough – Funerailles Gareth Loy – Nekyia György Ligeti – Glissandi Morton Subotnick – Silver Apples of the Moon Pierre Boulez – Sur incises Erik Bergman – Silence and Eruptions Edgard Varèse – 1st interpolation of organized sound (from Déserts) Arnold Schoenberg – Vorgefühle (from Five Pieces for Orchestra) Erik Bergman – Triumf att finnas till Iannis Xenakis – Polytope de Montreal Jonathan Harvey – Mortuos piango, vivos voco Anton Webern – Five Pieces for Orchestra, op. 10 Brian Eno – 1/1 from Ambient 1: Music For Airports Surgeon – Force & Form Remakes (Surgeon Remake 1) Antony & The Johnsons – Hope There's Someone Pierre Boulez – Pli selon pli Storm – No More Words (Part 3) Jeff Mills – Changes of Life 3MB – Jazz Is The Teacher (Magic Juan Mix) Basic Channel – Octagon Thomas Köner – Permafrost Edgard Varèse – 3rd interpolation of organized sound (from Déserts) Carl Michael von Hauswolff – A Quite Faster Spirit With Some Low Cyclic Interference Set Fire To Flames – Holy Throat Hiss Tracts To The Sedative Hypnotic Peter Warlock – The Shrouding of the Duchess of Malfi Wendy Carlos – Tron Scherzo George Crumb – Pastoral Drone Gustav Mahler – Allegro energico, ma non troppo (from Symphony no. 6 in A minor) Big Pun – Beware Dr Dre – Forgot About Dre N.W.A. – Straight Outta Compton Bernard Parmegiani – Étude Élastique Hervé Boghossian – Organe ouvert Arnold Dreyblatt – Nodal Excitation T. S. Eliot – The Wasteland Samla Mammas Manna – Kom Lite Närmare All Saints – Pure Shores Olivier Messiaen – Combat de la mort et de la vie (from Les corps glorieux) Luciano Berio – In ruhig fliessender Bewegung (from Sinfonia) Edgard Varèse – Density 21.5 Steve Reich – Music for Mallet Instruments, Voices, and Organ Johann Sebastian Bach – Allemande (from French Suite No. 6 in E major) Beaks – Crow Olivier Messiaen – Transports de joie d'un âme devant la gloire du Christ qui est la sienne (from L'Ascension) Olivier Messiaen – Les Yeux dans les roues (from Livre d'orgue) Olivier Messiaen – Sortie (le vent de l'Esprit) (from Messe de la Pentecôte) Pimsleur Language Program – Swedish Genesis – Dancing With The Moonlit Knight Hildegard Westerkamp – Delhi B John Cage – Writing for the Second Time Through Finnegans Wake Dave Phillips – emf (from IIIII) Dave Phillips – Untitled (from IIII) Jeff Wayne – Dead London Hildegard Westerkamp – Into The Labyrinth Ono Gagaku Kaï Society – Etenlaku Keiji Haino, Derek Bailey – Boka Ga NeJirekireru To Ai Salvatore Sciarrino – Studi per l’intonazione del mare Karlheinz Stockhausen – Gesang Der Jünglinge Jean-Claude Risset – Mutations Giacinto Scelsi – Ko–Tha Iannis Xenakis – GENDY3 Iannis Xenakis – À R. George Crumb – Se ha llenado de luces mi corazón de seda (from Ancient Voices of Children) Alban Berg – Rondo ritmico con introduzione (from Chamber Concerto for Piano and Violin with 13 Wind Instruments) Bernard Parmegiani – L'oscillée Harrison Birtwistle – Secret Theatre Steely Dan – Time Out Of Mind Anton Webern – Christus factus est (from Five Canons, op. 16) Borbetomagus – Concordat Jam 12 Ornette Coleman – Tomorrow is the Question Bertrand Russell – Speaking Personally Keith Hudson – Part 1-2 Dubwise Horace Andy – I Feel Good All Over Linval Thompson – Dubbing Feet Prince Far I – Cry Tuff And The Originals Chris Pattern – Alpine Field Recording Louis Andriessen – Hoketus Joni Mitchell – Hejira Monica Zetterlund – Sakta Vi Gå Genom Stan Carole King – Tapestry Donald Fagen – Maxine Toru Takemitsu – Soundtrack from Woman In The Dunes Caravan – Golf Girl Einstürzende Neubauten – Trinklied Burning Spear – Ethiopians Live It Out Albert Ayler – The Wizard Caravan – Winter Wine Luciano Berio – Sequenza XI for guitar Picchio dal Pozzo – Seppia Sleepytime Gorilla Museum – The Donkey-Headed Adversary of Humanity Opens the Discussion Track Ghost – Bee Fiddler Igor Stravinsky – Ebony Concerto Mika Vainio – Colour Of Plants Luciano Berio – Sequenza VII for oboe Ralph Vaughan Williams – Fantasia On A Theme Of Thomas Tallis Global Communication – 14:31 Angelo Badalamenti – Audrey's Dance

"In 1913 Futurist Luigi Russolo developed several noise machines, which he named ‘intonarumori’. In his manifesto, The Art of Noise, Russolo argued that musical instruments could no longer satisfy man's thirst for sounds. Almost 100 years later, people are still exploring the possibilities of sound. This is what I tried to capture in this mix - testing the limits of sound, from shrieking highs to almost imperceptible lows, finding new ways of interpreting and portraying life through the medium of sound. Despite including over 100 artists, the mix by no means represents a completist viewpoint; so many perhaps important artists in the development of 'noise' were left out. It was not my intention to do a 'who's who' of noise music, but rather to show how the exploration of sound has developed over time and how fascinating these explorations are. I did at times take into account the historical significance of the piece/artist when choosing tracks, although I was steered mainly by what was sonically interesting to me. Well that's it - the mix should speak for itself. If you are interested in digging deeper please follow the links provided. Listen at maximum volume and enjoy." Marolo, January 2007 Tracklisting: Luigi Russolo – Risveglio Di Una Cita (1913) Marcel Duchamp – La Mariée Mise À Nu Par Ses Célibataires, Même John Cage – Imaginary Landscape 1 (1939) John Cage – Imaginary Landscape (1942) Halim El-Dabh – Wire Recorder Piece (1944) Pierre Schaeffer – Etude Aux Chemins De Fer (1948) Hugh Le Caine – Dripsody (1949) Edgar Varese – Interpolation, 3rd Interpolation (1954) John Cage – Radio Music (1956) 15 minutes Iannis Xenakis – Diamorphoses (1957) György Ligeti – Continuum, Glissandi (1957), Artikulation (1958) György Ligeti – Pièce Électronique #3 (1958) Edgard Varèse – Poème Electronique (1960) Stockhausen –  Kontakte (1960) Tod Dockstader – Four Elementary Tapes ¾ (1963) Stockhausen – Telemusik (1966) Beatriz Ferreyra – Demeures Aquatiques (1967) AMM – Ailantus Glandulosa (1966) Wozard Of Iz – Blue Poppy (1968) Pierre Henry – Prologue (1968) Jean-Claude Risset – Flight & Countdown (1968) Delia Derbyshire / John Peel – Voice Treatment (1969) La Monte Young – The Volga Delta (1969) 30 minutes Morton Subotnick – Wild Bull Part 2 (1968) Jean-Claude Risset – Mutations (1969) François Bayle + Robert Wyatt + Kevin Ayers – It (1970) Iannis Xenakis – Hibiki-Hana-Ma (1970) Luc Ferrari – Presque Rien  (1971) Yoko Ono – Toilet Piece (1971) Laurie Spiegel – Sediment (1972) La Monte Young – From Poem For Chairs, Tables, Benches, Two Sounds Faust – 11 (1973) Throbbing Gristle – Whorls of Sound (1975) Alvin Lucier – The Duke Of New York (1976) BBC Radiophonic Workshop – Central Control Room In Exillon City, Styre's Scouting Machine, Atomic Reactor Runs Wild (1978) Chrome – Inacontact / I am the Jaw (1979) Whitehouse – Politics (1980) Maurizio Bianchi – Industrial (1980) 45 minutes Merzbow – Music Concret/Tape Dada (1980) NON – Pagan Muzak Loops (1980) Frieder Butzmann – Tales of Death (1981) Esplendor Geometrico – PIE (1981) MB – Treblinka (1981) Throbbing Gristle – Medicine (1982) Borsig – Zu Den Anderen Gerollt Werden/Helmut (1982) E.g Oblique Graph – Black Cloth (1982) Esplendor Geometrico – Disco Rojo (1982) Consumer Electronics – Keloid (1982) SPK – War of Islam (1983) Alison Knowles – Assemblage (1984) Diamanda Galás – Panoptikon (1984) Controlled Bleeding – Knees And Bones (1985) Zoviet France – Signal (1986) Butthole Surfers – Hay (1987) 1 hour Merzbow – Chopin is Dead (1987) Hanatarash – Frogirl (1988) Esplendor Geometrico – Mekano-Turbo (1988) John Watermann – Still Warm (1989) Voice Crack & Borbotomagus – Untitled (1991) Jackofficers – Flush (1991) Iannis Xenakis – S.709 (1992) Scanner – Untitled (1993) Melvins - Magic Pig Detective (1994) Merzbow - Ananga-Ranga (1994) Fennesz – 3 (1995) Vromb – Facteur Humaine iii (1996) Mike Patton - I Killed Him Like a Dog, Screams Of The Asteroid, Porno Holocaust, Catheter, Raped On A Bed Of Sand (1996) 1 hour 15 minutes Restgeraeusch – 1H / 1Min (1996) Oval – Shop in Store (1996) Lucien Monbuttou – Kpiele, I Find The Enemy (1997) Jonathan Azande – Opaque Misery (1997) Francis Dhomont – Scherzo (1997) Aube – Vent Finalzinho (1997) Electricity – Dunia Wanja Wa Fujo, Indlela Yababi (1997) National Bird – Wakar Uwa Mugu (1997) Godfrey J Kola – Somalia! (1997) Mbuti Singers - Massacre Rite (1997) Jim O’Rourke – There As (1997) Toys’r’us – Untitled (1997) Fraughman – Of The Elements (1998) Boredoms – Super Shine (1998) Merzbow – Munchen (1998) 1 hour 30 minutes Merzbow – Soft Water Rhinoceros (1998) Scalpel – 2.08 (1998) Dumb Type – Zero Radius (1998) ATR – Brixton Academy (1999) Merzbow & Genesis P-orridge – Flowering Pain (1999) Voice Crack – Green Ellipse/Red Square (1999) Shizuo – Untitled (1999) Maldoror – Baby Powder on Peach Fuzz (1999) Zipper Spy – Untitled (2000) Dolores Dewberry – Paragraph (2000) Diane Nelson – Dissected Insect (2000) Winterkälte – Toxic Hotspot (2000) Signal – Centrum (2000) Massimo - Hey Babe, Let Me See Your USB And I'll Show You My Firewire (2001) 1 hour 45 minutes DJ Smallcock – YinYue (2001) Ryoji Ikeda – 00010 (2001) Cyclo – C4 C9 (2001) Tripod Sardine – TV (2000) Speedranch – Halfway up the Stairway of Mucus (2001) Fennesz / Jim O'Rourke / Peter Rehberg – We Will Diffuse You (2002) Huren – Satem (2002) Vromb – Subréalité (2002) Coh – Hurt Later / Terra Beyond / In Spaces Between (2002) Massimo – 6-1-8 (2002) Merzbow – Tadpole / Forgotten Land (2002) Merzbow – Black Gun Red (Kim Cascone mix) (2003) Wlliam Basinski – Disintegration Loops DLP4 (2003) KK Null – Andromeda 2 (2003) Space Machine – 4 (2004) Chessmachine – 16 Move (2004) 2 hours Zeena Parkins & Ikue Mori – Miura (2004) Otomo Yoshihide - Where There's Smoke, There's Weapons (2004) The Lappetites – Funeral (2005) Merzbow – Merzbuta track 4 (2005) Zeena Parkins – 16 Feet + Cello (2006) Drifting Stranger – Oh Daddy Love Me Good (2007)