Max Eilbacher // Max Eilbacher TAPE
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Max Eilbacher, an experimental musician from Baltimore, USA who has performed with NNA and Unifactor in the past, will perform in Baltimore in May 2023.Experiment/collage labelLimited to 100 pieces from Ultraviolet LightIt is a relapsed cassette that has been released.
Includes 2 psychedelic electronic trip songs by computer. Comes with DL code.
The following is a commentary by the writer himself.
Digital Sketch for "Stringed Instruments"
One morning I had the idea of composing for strings.The timbre of string instruments is constantly transforming between changing intonations.The ascending and descending spectrum of the various sonorities constructs a beating, living whole.The gestural and perceptual qualities of stringed instruments will lie somewhere between ice age and constant movement.I ended up using sawtooth waves instead of string samples and acoustic instruments.
Spectral Mask Room Construction
This work explores onset partials in audio perception and spectral masking.I started with a woodcut sample.For me, the harsh but beautiful percussive sound of woodblock prints is complex.This short sound serves as a cue for a highly pronounced, frightening sound. After hours of listening to a single beat and extensive spectral analysis, I am able to hear and understand the complex physical composites of the beat that extend beyond its short temporal lifespan. became.Bursts now exist as impulse responses.Each keystroke conveyed information about the space the woodblock material was in for the recording.The room where the wood was struck became part of the audible sound material in the same way that the wood collided.In order to synthesize the woodcut sound from scratch, it was decided to closely examine the attack and decay times of the individual partials.Based on the results of spectrum analysis, I composed mainly the first short hits.The pitches that make up the fundamental and overtones of the sample were extracted in various clusters and used to create several types of digital synthesizers.The timing structure of sampled and synthesized strikes is controlled by a simple count conversion.In doing so, we set a conceptual throughline for variations in keystrokes.The many variations of partials that are highlighted or sent into the audio background mimic the "fake" spaces in which these sounds exist and serve to convey subtle architectural information to the listener. "
Ultraviolet Light Other worksplease use this form. ///Click here to see more Ultraviolet Light releases available at Tobira.
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Cassette in norelco case. Edition of 150.
tracklist:
- Sketch for Digital Strings 20:05
- Spectral Masking Room Construction 20:08
Artist statement by Max Eilbacher:
"Digital Sketch For Strings
One morning I had an idea for a string composition. The tonal colors of the strings would be constantly morphing between shifting intonations. A rising and falling spectrum of many different sonorities would construct a throbbing, living whole. The gestural and perceptive qualities of the stringed I ended up using saw waves instead of string samples or acoustic instruments, as I found the harmonics of a saw wave helped achieve what I was hearing in my head that morning.
Spectral Masking Room Construction
A work exploring onset partials on audio perception and spectral masking. I started with a woodblock sample. For me, the woodblock's harsh yet beautiful striking sound is complex. The short burst acts as an extremely salient and trepidatious sonic cue. After listening for hours to a single strike and performing in-depth spectral analysis, I began to hear and comprehend the strike's intricate material composite as extending beyond its short temporal life. The burst started to exist as an impulse response. With each strike, information about the space in which The woodblock's material existed for the recording was communicated. The room in which the wood was struck was just as much a part of the sonic material being heard as the wooden material colliding with one another. Synthesizing the woodblock sound from scratch turned into a minute study I used the results of spectral analysis and composed around the initial short strike. The pitches The timing structure of the sampled and synthesized strikes are controlled by a simple counting transform. By doing so I set conceptual throughlines for the variants. of struck sounds. The many variations of partials being highlighted or sent to the audio background serve to imitate “fake” spaces in which these sounds exist and convey subtle structural information to the listener. ”
artist: Max Eilbacher
label: Ultraviolet Light
Max Eilbacher, an experimental musician from Baltimore, USA who has performed with NNA and Unifactor in the past, will perform in Baltimore in May 2023.Experiment/collage labelLimited to 100 pieces from Ultraviolet LightIt is a relapsed cassette that has been released.
Includes 2 psychedelic electronic trip songs by computer. Comes with DL code.
The following is a commentary by the writer himself.
Digital Sketch for "Stringed Instruments"
One morning I had the idea of composing for strings.The timbre of string instruments is constantly transforming between changing intonations.The ascending and descending spectrum of the various sonorities constructs a beating, living whole.The gestural and perceptual qualities of stringed instruments will lie somewhere between ice age and constant movement.I ended up using sawtooth waves instead of string samples and acoustic instruments.
Spectral Mask Room Construction
This work explores onset partials in audio perception and spectral masking.I started with a woodcut sample.For me, the harsh but beautiful percussive sound of woodblock prints is complex.This short sound serves as a cue for a highly pronounced, frightening sound. After hours of listening to a single beat and extensive spectral analysis, I am able to hear and understand the complex physical composites of the beat that extend beyond its short temporal lifespan. became.Bursts now exist as impulse responses.Each keystroke conveyed information about the space the woodblock material was in for the recording.The room where the wood was struck became part of the audible sound material in the same way that the wood collided.In order to synthesize the woodcut sound from scratch, it was decided to closely examine the attack and decay times of the individual partials.Based on the results of spectrum analysis, I composed mainly the first short hits.The pitches that make up the fundamental and overtones of the sample were extracted in various clusters and used to create several types of digital synthesizers.The timing structure of sampled and synthesized strikes is controlled by a simple count conversion.In doing so, we set a conceptual throughline for variations in keystrokes.The many variations of partials that are highlighted or sent into the audio background mimic the "fake" spaces in which these sounds exist and serve to convey subtle architectural information to the listener. "
Ultraviolet Light Other worksplease use this form. ///Click here to see more Ultraviolet Light releases available at Tobira.
--------------------
Cassette in norelco case. Edition of 150.
tracklist:
- Sketch for Digital Strings 20:05
- Spectral Masking Room Construction 20:08
Artist statement by Max Eilbacher:
"Digital Sketch For Strings
One morning I had an idea for a string composition. The tonal colors of the strings would be constantly morphing between shifting intonations. A rising and falling spectrum of many different sonorities would construct a throbbing, living whole. The gestural and perceptive qualities of the stringed I ended up using saw waves instead of string samples or acoustic instruments, as I found the harmonics of a saw wave helped achieve what I was hearing in my head that morning.
Spectral Masking Room Construction
A work exploring onset partials on audio perception and spectral masking. I started with a woodblock sample. For me, the woodblock's harsh yet beautiful striking sound is complex. The short burst acts as an extremely salient and trepidatious sonic cue. After listening for hours to a single strike and performing in-depth spectral analysis, I began to hear and comprehend the strike's intricate material composite as extending beyond its short temporal life. The burst started to exist as an impulse response. With each strike, information about the space in which The woodblock's material existed for the recording was communicated. The room in which the wood was struck was just as much a part of the sonic material being heard as the wooden material colliding with one another. Synthesizing the woodblock sound from scratch turned into a minute study I used the results of spectral analysis and composed around the initial short strike. The pitches The timing structure of the sampled and synthesized strikes are controlled by a simple counting transform. By doing so I set conceptual throughlines for the variants. of struck sounds. The many variations of partials being highlighted or sent to the audio background serve to imitate “fake” spaces in which these sounds exist and convey subtle structural information to the listener. ”
artist: Max Eilbacher
label: Ultraviolet Light
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