Wesleyan Portfolio – disk 1

now with more songs!

1. Breaking Waves 2001. This piece was composed in responce to a call for tape pieces by Ibol Records. It was released on a compolation disk called Random Spheres of Influence. The source sound for this is white noise from a MOTM synthesizer. It was then processed with Audio Catalyst software, by convertng it to mp3 format and then back to AIFF format and then to mp3 and so forth, so the original sounds would degrade and alaising would become apparent. It was mixed with Pro-tools. I called it “Breaking Waves” because the white noise was reminiscent of ocean sounds at the beach and also because the sound breaks apart into something different.
2. Phase 2001. This piece was created with a Future Retro 777 synthesizer. I used the same pattern on the sequencer in three differnt loops, but the pattern was cut to different lengths so that the lopps fall in and out of phase with each other. It was mixed with Pro-tools. This was featured in the now-defunct Nonsequiter ezine.
3. Bitter Day 2000. This piece was created with a MOTM synthesizer, with some sounds controlled by keyboard. It was mixed and compressed with Pro-tools. This was posted to Mp3.com and has been played on Internet and pirate radio. The notes for it are based on Amos 8:10:
   

   Your festivals will turn into mourning
   And all your songs into lamentation;
   It will be like a time of mourning for an only daughter,
   And the end of it will be like a bitter day.

4. Monopoly Capitalism 2000. This piece was created in responce to a call for works by the Woodstockhausen festival and subsequently played there in 2000. It uses sounds from Casio Tone, a Moog Taurus II, a Jomox Airbase, a MOTM, midi control via a custom MAX patch, and vocals processed with a Midiverb. It was recorded to ADAT and mixed with an analog mixing board. The program notes for it were:
   

   I was at the world’s largest chain of copy mats when the guy standing next to me was busily copying an article called “Monkeys and Monopoly Capitalism.” I got to thinking about how monkeys follow supply and demand. And about religion and the Wall Street Journal. But mostly about a neglected MAX patch that wanted to be recorded.

5. Headerless Data #1 2001. This piece was created using Photoshop software. I generated an image in photoshop and then modified the resultant data with Sound Hack, by adding headers to turn it into an AIFF file. It was mixed in Pro-tools.
6. Chaos Patch 2000. This piece was composed with a MOTM synthesizer using analog chaos. Three oscilators were patched together in an FM loop, so that the output of each one was the FM input of the next one. It was recorded and mixed with Pro-tools in one night while awaiting returns from the state of Florida during the last presidential election.
7. April Noise 2000. The sounds for this were generated with a MOTM synthesizer and an Evenfall Minimodular synthesizer, all during April 2000. It was mixed with Pro-tools.
8. Choral No. 1 2000. This was recorded using a MOTM synthesizer and mixed in Pro-tools. It was played on German radio in 2001.
9. Drum Decay 2001. This piece uses a feedback loop like the one Alvin Lucier used in I am sitting in a Room. The drums sounds were generated with Rebirth software and then processed via a MAX/MSP application, a bass amplifier and a microphone. The results of that were processed with Sound Hack and then remixed in Pro-tools.