Tagged: Pure Data


My contribution to April’s distortion-themed episode of Gwaith Sŵn’s Sonic Darts on Resonance104.4fm.

“There’s not much to say really! 😉 It started off as an experiment recording a semi-acoustic guitar into an old cassette recorder. I then recorded it from the cassette recorder’s built-in speaker, ran it thru’ a Pure Data patch into a Boss SP-303’s “Vinyl Sim” effect, then ran it back thru’ the SP-303’s distortion effect… so calling it “Distortion” is probably pretty apt!”


Syksyinen Sähkö (ote)

Autumnal Electricity (excerpt)

Excerpt from a 40 minute improvisation for electric guitar and Pure Data patch.

The guitar, tuned to open G, is fed into a monophonic pitch tracking oscillator. This is then fed into three separate mono buffers, which record 16, 18 and 20 seconds of audio and randomly change direction. The buffers are then fed into two “shufflers” – one pitched an octave below, the other a fifth. The output from this patch is then mixed with the output from the guitar and fed into a guitar amp with distortion and reverb.

Piece composed for the fourth edition of Gwaith Sŵn‘s Sonic Darts radio show, first broadcast on 5 October 2015 on Resonance104.4fm. The theme for the show was DIY.

The Swallows Of Chernobyl (Test Recording)

An audio piece consisting of a loop of birdsong passed through a “side-chain” gate triggered by a geiger counter. Whenever the geiger counter triggers the gate a tiny piece of the loop is “ducked” (silenced). Eventually all traces of the birdsong will be erased from the loop.

This piece was inspired by an article in Scientific American where biologists are researching the effects of low-dose radiation on living things by studying common barn swallows within the exclusion zones of both Chernobyl and Fukushima.

For this test recording I made a mock-up of the piece in Pure Data:


The Data of the Buddha

A totally unexpected write-up of a couple of my SoundCloud pieces from Marc Weidenbaum at Disquiet!

The first edition of the drone box gets a late-model remake.

Early on in “Pure Buddha Data,” a recent piece of music by Stephen Stamper, a four-note riff comes briefly into sonic view. The fourth of the notes is so subdued that it might not even exist. That final note trails off into the lush ringing field that is the majority of the work, a thick lawn amid which the riff occasionally blooms. The brief melody is not dissimilar to the theme from the Steven Spielberg film Close Encounters of the Third Kind, those Morse-like tones with which aliens and humans find a common if rudimentary language by employing math transformed into music. In the movie, the music is harmonically sound, which lends the meeting the air of good will.

The notes in Stamper’s piece will be familiar to anyone who has turned on the first of the Buddha Machines. It is a rare melodic moment from the device, designed by the duo FM3 to emit swaying drones and drone-like effluence until its batteries run out. In the brief note appended to the track, Stamper mentions that the sounds we’re hearing are “A first generation FM3 Buddha Machine left to run through my Pure Data performance patch.” (Pure Data is the name of a graphic programming environment.) That patch appears to be the same software process that he employed in the production of a recent contribution he made to the Disquiet Junto project, when the collective remixed a track off the recent Marcus Fischer album, Collected Dust:

Listening to both tracks is to let the mind slowly reverse engineer what it is, exactly — well, more to the point, inexactly — Stamper’s patch is doing. It isn’t a destructo approach. It’s more of a thickening and quickening agent. It speeds up the material in a manner that it loops back on itself, accruing layers into a sonorous denseness that, somehow, doesn’t fully lose the gentle qualities of the original source material.

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