Electronic Frequencies

01/ Noise Patterns- Section 1 – Tristan Perich. 00:06:24.
02/ Noise Patterns- Section 2 – Tristan Perich. 00:03:53.
03/ Noise Patterns- Section 3 – Tristan Perich. 00:07:02.
04/ Noise Patterns- Section 4 – Tristan Perich. 00:08:13.
05/ Noise Patterns- Section 5 – Tristan Perich. 00:06:32.
06/ Sonic Form 01 – Roland Emile Kuit. 00:03:48.
07/ Sonic Form 02 – Roland Emile Kuit. 00:04:50.
08/ Sonic Form 03 – Roland Emile Kuit. 00:03:18.
09/ Sonic Form 04 – Roland Emile Kuit. 00:03:01.
10/ Sonic Form 05 – Roland Emile Kuit. 00:03:47.
11/ Sonic Form 06 – Roland Emile Kuit. 00:02:55.
12/ Sonic Form 07 – Roland Emile Kuit. 00:03:24.
13/ Sonic Form 08 – Roland Emile Kuit. 00:02:56.
14/ Sonic Form 14 – Roland Emile Kuit. 00:03:47.

About NOISE PATTERNS – Tristan Perich.
Noise Patterns digs into the primitive particles of digital 1-bit audio that has become Perich’s signature sound. As with his previous circuit albums, Noise Patterns is not released as a CD or record. Noise Patterns comes as a minimalist matte-black circuit board with a headphone jack in the side. The 6-track album explores how digital noise can be shaped and stressed, from glittering static into the mesmerizing electronic thump of a nightclub. On a technical level, the sonic raw material in Noise Patterns is digital 1-bit noise: a probabilistic density of random oscillations that Perich sequences into rhythmic patterns and layers into textures, pulses, rumbles and beats. Available from Physical Editions.
Physical Editions PE010.

About SONIC FORMS – Roland Emile Kuit.

In the tradition of Takehiha Kosugi and Alvin Lucier, Kuit needs to explore the fundamental physics of acoustics wherby the concept of time and space as a vital continuum is morphed with its surroundings.In his lab, Kuit explored the behaviour of orbiting Lissajous figures:Dynamic synthesis is used to create information streams on a van der Pol oscillator. A designed system of parametric equations to create balance, harmony, gradation, repetition, contrast and with the elements as line, shape, size, direction, texture, hue/tone. A mutual relationship exists between the elements and their structure. The structure provides the elements with their specific, perhaps changing, meaning in nano timbre/ time. This information comes from so-called transients whereby the duration varies between a small part of a period, from 1 usec to 3 or 4 milliseconds. This onset as impulse makes it possible to distinguish the identities of these sonic forms and transforming them to autonomous audio sculptures. The structure works as a context. The elements determine which structural measures they can be subjected to in order for their identity to be enhanced, for their meaning to be differentiated and extended. Sonic environments | Orbits for public and private spaces. Roland Emile Kuit – KYMA.
Composers Voice.
ASIN : B07PXNSH77.

Picture: Grey Space – Courtesy of the Artist Karin Schomaker.