Conference napalm::commusic_v1

    The really classical example that I recall was called "Entropical
    Paradise."  Morton Subotnik?  I've actually forgotten if I really heard
    the piece (just a recording of the patch running).  Anyway, it used
    most of the resources in a very large modular Moog to make the sounds
    of a tropical jungle.  I decided to give it a try at one point when I
    was in college and I did get at least some fairly nice random
    bird-calls and insect-like sounds out of my very limited PAIA modular
    system. 
    
    	Eirikur
    

    
>    	2) Is sound sculpture "musically valid" on COMMUSIC tapes? 
    
	What isn't? ;-)

	Actually, it might be interesting to have little sections of sound 
        sculpture on the next Commusic tape just for kicks.  I've
	stumbled into these every once in a while.  For example, while I
	was playing around with my TZ trying to get something that sounded
	like a gong, I wound up playing around with sounds that rose to a
	shimmer and then did some wild things over a long period of time.
	With the operators, waveforms and long envelopes available, the 
	TZ seems especially suited to sound sculpture.  I would imagine
        that the CZ would also be well suited for this.  
    
        Neat idea!

	Steve

    I got an Emax flop with some pan pipes and one Digeridoo sample.
    A Digeridoo is an Aboriginal woodwind that they play using circular
    breathing.. for a LONG time.  Well, the sample was of a middle 'C'
    and very smooth.  Too smooth.  I lowered it a fourth and began playing
    with the loop points until it got a very definite rhythm.
    
    Then I set it playing, functioning as a pedal-point drone AND rhythm
    element, and improvised a wonderful piece around it using the Kurzweil
    piano and various string/choral patches.  I call it 'Ascending Ayers
    Rock'.  Unless better pieces come along it'll be on Commusic VI.
    
    karl

	Many years ago a friend of mine had an ARP Oddesy, and we used to 
	be able to create self playing patches on it, but I could swear 
	that they had a repeating structure to them.  Also I can't 
	remember at all what parameters (I know very little about synths 
	now, but knew nothing about synths then) caused this effect but I 
	do remember that it was easy to make the ARP do it.

	Bob

    re .4
    
    Your friend most likely had a sample and hold pattern going, controlled
     by the LFO. I had an Odyssey and used to do that all the time (back
    in '73)! It was cool then--nay cosmic! But personally, I don't think
    I'd have much use for it now.  
    
    
    Mike D

RE: .4

    If you have a synth with gain and controllable s/h (sample/hold)
    features (like the Oddity does), then it's easy to make the kind of
    patch Bob talked about. 

    I did a similar thing with an Arp Axxe where I used s/h to open the
    filter using very slow a/r (attack/release) settings and used a white
    noise generator.  Sounded just like a surf, complete with waves hitting
    the beach and all.  And all done with a single oscillator. 

-b

    I have a little ditty in the works called "Night Shift at the Synth
    Factory" based on the multisample loops in the D-550...
    
    len.
     

    Sounds like "sound sculptures", rather than songs, are going to be
    the big thing on COMMUSIC VI.  Doesn't bother me a bit.  I like
    it that way.
    
    Ahh, the vagarities of popular culture.  :-)
                
    	-Bill            

    Damn, I've blown my chance to be a trend setter.  I suppose my
    "Brownian Stasis" will be packed in with the rabble :-) on Commusic
    VI.
    
    	Eirikur
    

    I was thinking of putting the HR-16 demo on the tape to fill
    space at the end.
    
    Regarding having this kind of stuff on the tape, I like to avoid
    setting rules about "content" on Commusic tapes, so it's up to
    you guys.
    
    My own personal opinion is that mostly I want to hear music, so
    I guess what that boils down to is that a few minutes of this
    here and there is fine with me.  I'd like to keep the tapes
    as "listenable" as possible.  Sound sculpture-type patches would
    becoming boring for me if they went on too long.
    
    	db

    I get crickets on Synthia on the Amiga.
    Tom