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bursting synthetic textures and autoreferential electronics vol​.​1

by SSD

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1.
sleep mode 05:08
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2.
e2e encryption 05:01
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3.
expensive cracks 07:07
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4.
blown capacitor (might delete) 08:47
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5.
3A thru 1pF caps 05:47
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6.
100% CPU Load 04:23
info
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7.
"ELONS_BACKUPDISK_15TB" was not ejected safely. 07:08
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8.
Sleeping Predator pt. 1 07:11
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9.
Sleeping Predator pt. 2 04:15
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10.
Sleeping Predator pt.3 04:26
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11.
Solid State Crash 03:30
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about

a collection of breaking textures and bursting soundscapes. Free for any use.

all created using a number of interconnected feedback loops going through various mixers, analog effects, as well as digital processing. Each output is fed into an input, and each input is only fed outputs, the effects of each stage in the process amplifying itself and highlighting the function of the device itself, exploring it's maximal limitations and the way the sounds balance between each other within the group of machines as a whole.

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HOW ITS MADE:
//1// A 4-channel mixer's output is fed through several effects units back into it's input. The output is also sent to an audio interface. Inputs sent from the interface can also be fed through the mixer unit without the effects feeding into themselves, in an independent feedback loop.

//2// The interface's output can be controlled between three options:
a. Feeding it's input directly back into the mixer's input, creating a larger feedback loop with more gain stages/ distortion/oscillator sources.
b. Into another effects feedback loop into a second input in the interface,
c. Sending the input digitally into a computer where a controllable Max program performs additional digital signal processing which is then also fed back to the mixer, and through that then back into its interface, etc.

//3// There are points where either only the mixer's output can be heard, and where only the max patch's output is audible, and this is constantly shifting

//4// The output of the audio interface is the final stage which is then sent to a PA mixer, which's output was then sent to a Line Recording as well as into a PA speaker, where a microphone recorded the room sound to add some physical spacial context to the tone, and for the listener to hear exactly what the performers were hearing while conducting the feedback system.
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The insular nature of an autoreferential system with no outside influence is comparable to that of the human condition, and thus the sounds heard can be interpreted as analogy for the human soul, as beings operate in a similar nature: Our sense of "I" is developed and made percievable by how one repeatedly responds to varying inputs which push us to our own limits, which are results of previous outcomes, summed with the result of other's outputs, all contributing to the environment. In short, this music is the sound of the collective conscience of humanity.

credits

released October 25, 2018

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SSD Glasgow, UK

Alec & Axel
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