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tracklist
01. Dreamsong
02. Love In The Asylum
03. Mars Suite
01. Dreamsong
02. Love In The Asylum
03. Mars Suite
| SPOILER (EAC Log) |
thanks to the original releaser! :punk:
Produced by Michael McNabb
Michael McNabb-electronic sounds
Marilyn Barber-human voice, track 1
From the Technical Notes in the booklet:
The master tape for this record was made by direct digital transfer from the computer that generated the signal to a Sony PCM 1610 digital tape recorder. This process was accomplished with no "analog" steps; that is, the music never passed through the air and into a microphone, and it was never translated into a fluctuating voltage. The only analog step is the digital to analog conversion process in your compact disk player. The result is a clean recording, without the accumulated background noise and tape hiss that result from analog mixing and copying.
Orbital View and Love In The Asylum were both realized on the Systems Concepts digital synthesizer at the Center for Computer Research in Music and Acoustics (CCRMA) at Stanford University. The synthesizer, known as the "Samson Box", was designed by Pete Samson for CCRMA. It is controlled through a DPD 10-like computer, using software developed by the researchers and composers at CCRMA.
Dreamsong was composed before the advent of the Samson box, using a PDP 10 directly to control a set of digital-to-analog converters.
CCRMA was founded in 1975 as an experimental, introdisciplinary venture within the Department of Music at Stanford University. The pioneering music produced at CCRMA reflects the contributions of artists and researchers from a variety of fields, including psychoacoustics, electrical engineering, and signal processing.
And to add to it, this album was made pre DOS and Windows.
Review
So what does this sound like? This is electronic music in its purest form. Not electronica, not techno, jungle, breakbeat, or electro smooth shave. It is very much on the experimental side, creating sounds simply to create sounds. For "Dreamsong" the liner notes say This piece represents the first steps in McNabb's exploration of digital techniques for realizing new musical gestures, particularly the transformation of timbre and texture and the hallucinogenic shifting between familiar sounds and imaginary musical images.
This goes back to when creating music electronically meant more than a half hour download of software and add-ons.
| SPOILER (back cover) |
Produced by Michael McNabb
Michael McNabb-electronic sounds
Marilyn Barber-human voice, track 1
From the Technical Notes in the booklet:
The master tape for this record was made by direct digital transfer from the computer that generated the signal to a Sony PCM 1610 digital tape recorder. This process was accomplished with no "analog" steps; that is, the music never passed through the air and into a microphone, and it was never translated into a fluctuating voltage. The only analog step is the digital to analog conversion process in your compact disk player. The result is a clean recording, without the accumulated background noise and tape hiss that result from analog mixing and copying.
Orbital View and Love In The Asylum were both realized on the Systems Concepts digital synthesizer at the Center for Computer Research in Music and Acoustics (CCRMA) at Stanford University. The synthesizer, known as the "Samson Box", was designed by Pete Samson for CCRMA. It is controlled through a DPD 10-like computer, using software developed by the researchers and composers at CCRMA.
Dreamsong was composed before the advent of the Samson box, using a PDP 10 directly to control a set of digital-to-analog converters.
CCRMA was founded in 1975 as an experimental, introdisciplinary venture within the Department of Music at Stanford University. The pioneering music produced at CCRMA reflects the contributions of artists and researchers from a variety of fields, including psychoacoustics, electrical engineering, and signal processing.
And to add to it, this album was made pre DOS and Windows.
Review
So what does this sound like? This is electronic music in its purest form. Not electronica, not techno, jungle, breakbeat, or electro smooth shave. It is very much on the experimental side, creating sounds simply to create sounds. For "Dreamsong" the liner notes say This piece represents the first steps in McNabb's exploration of digital techniques for realizing new musical gestures, particularly the transformation of timbre and texture and the hallucinogenic shifting between familiar sounds and imaginary musical images.
This goes back to when creating music electronically meant more than a half hour download of software and add-ons.