Lots of patterns! I tried to make them clear, but let me know if you have questions.

Special treat this week, 4 music machines from Marsh's free museum that go back all the way to the 1800's! And boy howdy a couple of them sound like they're 100+ years old.

More Elaine Radigue-style experimentation. No field recordings this time, but I tried to make it more sleepy especially in the second half.

There’s an embedded message in the first half and the second is an impression of Elaine Radigue’s music.

First episode where everything besides my bass is scripted in pure data. Also first episode where after I start playing I don’t stop until the end. This episode ended up being less divided into sections than others. I had trouble falling asleep to last week’s episode so this one is tailored more for that.

More pure data patches,

possible titles for sections include:

-stampede of dudleys

-land ho

-alex ain’t got nothing on me

Since this was not a live show I was able to get away with more overdubbing, and a shorter show.

Includes multiple samples from music I like.

Started off with an old tune of mine, "Nightflower Moonrise," and then continued with my first attempt at real-time pitch detection in pure data which cases the timbre to shift from piano to orchestra with a few samples of Ravel. Later there's also a sample of Crumb's Vox Balaenae.

Two field recordings this episode: one from NYC-based dramatist Christopher William Wolter containing his short piece "Shipwrecks." Chris is a longtime collaborator (some of our older stuff: https://www.youtube.com/watch?v=3RC5zZAdB1c). The other is of the Weyerhaeuser Comm lot by the water in downtown Olympia. I got a lot of weird looks from the people who work there for standing against the fence apparently doing nothing.

The second half of the show I used a simple pd patch I made which responds to sound input with white noise output. It sounds like playing against the wind.

See you next week.