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Max Eilbacher // Max Eilbacher TAPE

Max Eilbacher // Max Eilbacher TAPE

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The first release in 2021 has arrived from the US tape label Ultraviolet Light, which publishes various collage / noise works with pop artwork.This work is NNA andUnifactorThis is a new work limited to 150 pieces by Baltimore's computer collage writer Max Eilbacher.Includes two psychedelic electronic trips. DL code included.

MAX EILBACHER from Ultraviolet Light Tapes on Vimeo.


Ultraviolet Light Other workshere /// Click here to see more Ultraviolet Light releases available at Tobira. 

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"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 accumulation would exist somewhere between glacial and in constant motion. 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. ”

--Max Elibacher, 2020
Edition of 150 three color risograph print.

artist: Max Elibacher 

label: Ultraviolet Light 

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The first release in 2021 has arrived from the US tape label Ultraviolet Light, which publishes various collage / noise works with pop artwork.This work is NNA andUnifactorThis is a new work limited to 150 pieces by Baltimore's computer collage writer Max Eilbacher.Includes two psychedelic electronic trips. DL code included.

MAX EILBACHER from Ultraviolet Light Tapes on Vimeo.


Ultraviolet Light Other workshere /// Click here to see more Ultraviolet Light releases available at Tobira. 

--------------------

"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 accumulation would exist somewhere between glacial and in constant motion. 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. ”

--Max Elibacher, 2020
Edition of 150 three color risograph print.

artist: Max Elibacher 

label: Ultraviolet Light