What is it and its techniques?

This piece of equipment is a electronic signal processor/ generator.

It techniques focus upon speed and direction variation were combined

with creative tape splicing to pioneer new sounds and Micro sound,

where computers allow for sound to be divided into pieces smaller then

1/10 of a second (EXS 24), and manipulated like sub-atomic particles. It

is most dynamic as a digital audio buffer for the modularsynthesist. The

Phonogene is comprised of a pair of tool-sets, which work well together.

Tape Music Tools;

Allow for sounds to be recorded on the fly, layered using the internal

Sound On Sound function, manually cut into pieces using the SPLICE

function, and re-organized with the ORGANIZE control. Once it is spliced

up, it is possible to create nearly infinite variations of the original loop

by modulating the ORGANIZE parameter. VARISPEED allows for the speed

and direction of playback to be controlled continuously with one control

signal. GENE-SIZE, GENE-SHIFT and SLIDE make up the

Microsound Tools.

GENE-SIZE divides the audio buffer into progressively smaller pieces

called A clock signal applied to GENE-SHIFT will step through those

pieces in chronological order, while a control signal applied to SLIDE,

moves through those pieces in a nonlinear fashion. Using SLIDE, random

access of the audio buffer is possible. Obviously, functions such as VARI-

SPEED and ORGANIZE are useful for Microsound as well, which is why

these functions were grouped into one module. The end result is a

sampler/ looper/ audio buffer that is able to exist within a modular

synthesizer system, and offer a vast amount of real-time sound

manipulation in a fast and tactile way.

To build complex forms through repetition, and

accumulation of events through delays, filtering and

feedback.

A series of twelve movable magnetic heads (one each recording head and

erasing head, and ten playback heads) were positioned around the disk, in

contact with the tape. A sound up to an estimation of four seconds long could be

recorded on the looped tape and the ten playback heads would then read the

information with different delays, according to their (adjustable) positions

around the disk. The separate amplifier and band-pass filter for each head could

modify the spectrum of the sound, and additional feedback loops could transmit

the information to the recording head. This should result into repetitions of a

sound occurred at different time intervals, and could be filtered or modified

through feedback.

How this can help in the concepts of the EXS-24 is I could do a series of sounds which

could college or montage the layering effectively and selecting the decisions more

professionally. This can also expand improvement in pitch and timbre, the intensity can

be more defined and can be compatible. This can also be drawn upon the augmented

performance of my track being concrete based or contemporary, could it be a style of

my own or examples of recent performed aspects?

IT’S FUNCTION

WHAT IS IT?

HOW CAN IT HELP ME?

I need to consider a form of music which is presented through loudspeakers to an

audience from an digital tape-recording. This music may contain sounds that have

recognisable and musical sources, but may equally present recognisable sources that

are beyond the bounds of traditional vocal and instrumental technology. This

identifies the sounds that we are likely to hear , either from a bird, or of a factory as

we are the sounds components. I also need to consider that the technology involved

transcends the mere reproduction of sounds. Techniques of synthesis and sound that

are processing are employed which may present me with sounds that are unfamiliar

and that may defy clear source attribution. My created form of music could be

presented in with familiar musical events: chords, melodies and rhythms which are

easily reconcilable with other forms of music, but may equally present us with events

which cannot be classified within such a traditional taxonomy.

Acousmatic is a compositional resource of sound where the materials are not

redistricted to the inclusion of sound divvied from an musical instruments or

voices, also by the elements traditionally thought as a musical compound

e.g. melody, harmony, rhythm, meter etc.

HOW IT HELPS ME.

DEFINITION

This equipment consists of inputs on the front for line of microphones. With this piece of

equipment I could sample playback the sound straight away.

This a coupled akai sampler. This is powered with trigger pads and a sequencer.

WHY THESE COMPONENTS? Both are effective in the techniques of looping, reversing, changing pitch, filtering, and enveloping. By this they could time stretch and shift the pitch around with the EXS 24 making more effective technique and expanding the definition of it’s purpose.