really, really low

i like looking at this recording through an oscilloscope because it's so low frequency.  i used phase modulated grains with varied envelopes.  i livecoded the parameters in realtime, both with direct osc messages for the phase modulated grains and with a gui i made to programmatically stream envelope shapes into a buffer for realtime manipulation.  pure synthetic granular synthesis is pretty rare these days because commercial software all but ignores it.  i think once the hype dies down people will stop abusing the technique as an effect and perhaps those who stick with it will develop it further.  in my wavelet analysis days, i was really mystified by two aspects of granular synthesis: phase and enveloping.  i just couldn't see the point in using anything other than a von hann window, as it produced the fewest artifacts across the bar.  of course, i was neglecting the well known fact that 'artifacts' is a fancy term for 'cool stuff.'  ok, that's a bit much.  suffice it to say that this new paradigm for synthesis is very eye-opening and dynamic.  that leads me to another thing that seems to be lost on much commercial music: dynamics!  seriously, i think the one trait each of my favorite recordings share with each other is the creative use of dynamics, intentional or otherwise.  another cool thing about this track is that if you leave it on and walk around the building you're in, you can still hear it because the waves are so large they pass through quite a bit before being absorbed fully.  i had it on repeat for a while and just experienced from different locations in my apartment and felt like it was different each time.  also, no matter how loud you play it, if you live next to people, no one will ever suspect it's an intentional sound coming from your speakers because you want it to.  ergo, no noise complaints!   mostly i like it because it spends much of its time right at the threshold between pitch and rhythm, and attempts without too blatantly just adding harmonics, to demonstrate that neither pitch nor rhythm exist on their own at all, but are completely one another.

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