27 November 2012

Jeffrey Plaide

Jeffrey Plaide creates music and video experimentations, much of the work is derived from personal visual collages and aural soundscapes creating surreal and dynamic experiences. Visual synthesis is the creation of visual imagery and composite works built up from different visual sources to create unifying structures. Music synthesis is the creation of musical compositions and soundscapes built up from various elements to create a self-contained work that is a musical expression in its own right. See more;

Differential Extensions (and other strange possibilities)

"Differential Extensions (and other strange possibilities) is an experimental electronic sequenced music composition comprising many diverse elements, and structured along approximately rhythmic lines, but also encompassing a certain degree of fluidity. The work is noted for its use of a software frequency shifter to impart some startling changes to the rhythmic and sequenced passages. Unlike a pitch-shifter, a frequency shifter does not preserve the harmonic relationship between the various harmonic elements in the input signal. Because of this process, with only a small degree of frequency shift audio signals start to sound very different and strange to the ear. It was the process of frequency shifting tones that started the inspiration for this work. All tracks were referenced by a 110 bpm tempo track for synchronisation. The OCET Rhythm Synthesizer VST was used extensively, and with the Valhalla Frequency Echo effect and delay a springy rhythm punch was created, a bubbling drippy sequenced track with "spring" sounds, and a strange ringing bongo squelchy sequence were created. The Valhalla frequency effect was also applied to various ring-modulated sinewaves to create a strange "groaning wind" sound - like some nightmarish mountain monster. The Hammerhead Rhythm Station provided additional beats using phasers and flangers for metallic effects. The Ring-O (VST stereo ring modulator) was used in a dual configuration to produce strange "space sounds" by manually tuning the oscillators and processing the output with reverberation. Other sounds include a loop made of processed tones with reverse delay and slowed-down to create bubbling eruptions. A "swooshing" sound was used (pulsating and filtered tones) as background atmospherics. Additional OCET sequences treated by flangers and delay units provided the higher tinkles and other ringing resonate effects. A reverberation track was created (using a sub-mix of the above tracks), and was filtered and sped up at the conclusion of the work together with an echo effect placed at the end. It was the combination of all these tracks that created the surreal rhythmic wash that comprises the music. The visuals comprise various video texture and pattern effects using colourisations, embossing and processed animations to create two video tracks identical to each other but delayed and keyed using luminance values. A third video track was used as an effect key track. The visuals pulsate and flash like a disco video backdrop. Pulsating rhythms pulsate with the light show created by video synthesis techniques. The work evolves into a kind of "fluidic space", merging into a different universe where a "white hole" coalesces bringing together all forms of matter, light and energy streams."

Tangential Lunar Experiential

"Tangential Lunar Experiential is an original ambient and seductive experimental electronic music development with a very eerie atmosphere and deep sonic soundscape textures. The intention was to create a dark and intense moody combination of atonal sound elements, with the eventual inspiration developing from experimental exercises with the Xenharmonic FMTS software synthesizer. The Xenharmonic FMTS synthesizer is capable of creating a wide range of harmonic, quasi-harmonic and enharmonic timbres, as well as xenharmonic and microtonal music. A section of a sequence called "Trumpet Nightmare" was spliced at the front and rear of another Xenharmonic track which incorporated twin tracks delayed and then slowed down to create an eerie metallic horn-like glistening rolling sound. Underneath these Xenharmonic tracks lay various tone and signal generation effects. A sinewave chord is processed through a flanger creating a kind of "singing tone". Next to this resides another sinewave chord with flanger and slowed down considerably creating a rasping low-frequency vibration. The next track consists of multiple DTMF signals processed through a flanger, a ring modulator, slowed down, processed through a second ring modulator, filtered and then reverb applied. All these tracks formed the first Bus on the mixer. For background effect a "wobbulator"-like pulsation was created by flanging low-frequency sinewaves. A choral tone complex background track was created by harmonising various sinewaves together. To create the shimmering spangle effect, the EFemme FM VST synthesizer was used with random modulation effects and feedback delay. The effect is quite remarkable, and is an excellent example of how effective FM synthesis can be in creating the most incredible metallic and shimmering textures. High-frequency sinewaves add to the choral effect heard in the middle of the composition. The effect is quite surreal and somewhat nightmarish as various pulsations and sinewave combinations create something other-worldly and non-comforting. One thinks of the Outer Limits of the imagination - extending beyond the ordinary and into the realms of the unforgiving unknown dimensions of space and time. The visuals comprise pure video synthesis patterns and colour-modulated electronic textile weave patterns with other sequences created by modulating horizontal and vertical counters or stripes. Keyed over this background are edge-extracted animated shapes and ellipses made from modulated patterns, pure colour and solarised modulated "drops". Shapes resembling the Moon are featured to indicate the lunar image. Shimmering light "pulsations" complement the EFemme FM shimmering sequences heard. Lines, circles and ellipses feature in combination, embossed and moire effects. Some of the textile weave backgrounds resemble the X and Y counter effects produced by the EMS Spectron Video Synthesizer. Attempts were made to modulate all visual elements - shape, colour, movement and texture. The ultimate effect is one of total abstraction and pure synthesis of all the aural and visual components." - Jeffrey Plaide 

Ghostliner of the Netherworld

"Ghostliner of the Netherworld is a darkwave electronic experimental atmospheric ambient music composition, being an original work, and using totally synthetic means to generate the various textures and combinations. The sonic atmospherics are complemented by very complex video graphic electronically-generated textile weave patterns, backgrounds and waveform modulations. The audio tracks begin by a swooshing sound, created by using a flanger effect on various generated tone sources. By applying an intense feedback, then multiplying the sound on several tracks, very organic pulsating ocean-like noise pulses result, that can later be used for special effects. The introductory esoteric tonal sources are actually a complete mixdown of a previous session comprising entirely of SynFactory synthesizer modulations and sonic combinations. We have in the SynFactory mixdown a track of chime-like tonal sources, ring-modulated and filtered square-wave sequences, another sequence of slowed-down tone sources, a track of darker ring-modulated sinewave chords, the last track consists of eight triangle wave sources processed through Oberheim filters and delays. This complete ambient sub-mix creates the core atmospherics of the composition. This mix is used again whereby it is ring-modulated, flanger applied, a dynamic delay applied with reverb then slowed down to 200% to create a very dark and shimmering and resonating pulsation. A SynFactory patch called the "Exxilon Choir Control" was used to create the alien ringing track that washes aloft in the background. This patch uses four sinewave oscillators mixed, twice ring-modulated and delay applied twice. Another track uses rising and falling sinewave test tones ring-modulated and a resonating intense flanger applied, creating a slow metallic and resonating Wobbulator-like effect. At the conclusion of the work we hear modulated sinewave test tones with flanger applied as well as a track of vibrating inverted modulated sinewaves with a mild flanger applied. The result is a deep and organic darker atmospheric expression that rings and shimmers as flanger and ring modulation effects take hold of the individual sonic components. The visuals comprise a background of electronically-generated textile weaves of modulating horizontal or vertical counters sometimes using a form of negative superimposition to create complex moire interactions. Keyed on this background are further textile weave modulations, but colourised. The top video layer comprises some pulsating geometric shapes with more concentrated colour applied. Other shapes include a rose-coloured modulating illuminated globule-like formation, vibrating orange and black ellipses, pulsating red and green horizontal counters, and a blue defocused snow pattern. The EMS Spectron video synthesizer was the inspiration for the monochrome textile weaves and shape derivation. The result is an incredibly complex arrangement of moire optical effects and interacting colour modulations creating a visual complement to the surreal and metallic resonating music atmospherics." - Jeffrey Plaide 

Coordinate Expansion Transformation Frequencies

"Coordinate Expansion Transformation Frequencies is an original experimental electronic music composition utilising sequenced tone sources and signal generation modulated tone effects. The signal generation effects are pure signal sources derived from Adobe Audition to emulate the style of Radiophonic tone sources used for science fiction television. Many signal sources were produced, but it was a rising tone source repeated three times that provided the structure to hold the composition together. A 1.5 minute rising chordal ring-modulated sinewave combination provided this structure. On top of this were three rhythmic tonal variations created by the OCET Rhythm Synthesizer to fit each of the three rising tones. Signal effects were used - "submarine tones", shimmering and flanged "cyber vibrations"and eerie rising "grinding" tones (with high frequency calls). The OCET Rhythm Synthesizer VST instrument was used extensively for all of the additional rhythmic sequences - "happy tones", flanged "railway signals", twinkling plucks, phase-modulated plucking sounds and ringing sequences processed by a modulated chorus. Wobbulator-like effects included modulated sinewave tones rising and falling (like a science fiction cartoon spacecraft). Ring-modulated sinewaves were produced creating a more distorted rising and falling cascade of tones. To create the impact of a crescendo contrast, falling reverberated sinewaves played alongside the end part of the rising chordal ring-modulated sinewave sample. A background ambience was needed, so the Synfactory 1.15 modular software synthesizer provided these random tones. Four pairs of sinewave oscillators were ring-modulated creating four sets of signals. These were blended together, filtered and passed through separate stereo delay modules. The result is an eerie, surreal "cosmic calling" of tones - desolate and yearning. It is the mix of all of the OCET sequences and various combinations of signal-generated sources that make for an eerie and surreal electronic experience. The visuals are pure video synthesis modulations and 3D moire effect grid and mesh formations animated by many parameters of motion and rotation. Some scenes involve a quad or four-fold display of shapes and curvature formations. The quad displays are allowed to spin while further soft moire modulations are keyed on top of the visuals. Some modulations are 2D effects, others embody 3D spherical, tube and sinusoidal motions. Some patterns exhibit XOR (exclusive OR) black and white effects. many kinds of mesh, embossed, moire, XOR and time-delayed imagery is employed to create the myriad of coloured animations seen. The result is mathematical and geometrically-generated - pure visual synthesis to complement the signal generation music structures." - Jeffrey Plaide 

The Sylvian Apophyllite Quadruplexy

The Sylvian Apophyllite Quadruplexy is an electronic experimental and abstract ambient composition constructed around sonic atmospherics and textures created by signal generation, and later rhythmic tones applied. The term "Quadruplexy" in the title refers to the four main components of the work - signal generation (with effects), rhythm sequences, rhythm percussive electronics and special texture effects. The signal generation chords became the foundation of the work, with the rhythm elements added later, not before as is usually the premise. One chord consisted of several sinewaves with modulation, ring-modulated and processed by a flanger and reverb. This chord pulsates and "breathes" in the background. The other chord tone also consists of sinewaves added together to create a "string lustre" atmosphere. DTMF signals ring-modulated, flanged, slowed with chorus created the rising and falling "voices" heard throughout the work. A sound called "Devil's Grind" provided a strange metallic texture. This was created by signal generation, chorus and multiple applications of the flanger. Flanged sinewaves can also be heard at the start - to signal in the rhythms. The OCET Rhythm Synthesizer provided all the rhythmic and tone sequences. All clocked at 68 bpm, the OCET VST instrument provided the main rhythm, the darker tones and twinkles, the middle tone sequences (with slap delays), darker vibrating rhythms, the high-pitched "bird calls", an alternate atonal rhythm sequence, the ring-modulated sequence fed through a flanger and delayed by four repetitions to finally the simple sinewave chimes heard in the middle of the work.The OCET Rhythm Synthesizer provided all these sequences - whether percussive, or using pure tones for melodic lines, it was as easy as programming a drum machine - but with tones instead of percussion as such. Signal generation provided more modulated sinewave tones for effect in different places. Finally, to provide random variation of tones, the Synfactory 1.15 modular software synthesizer was used to create random FM tones fed into a double-delay. All these elements combined to create a strange but engaging experiment into immersive electronica. The visuals are all synthetic, inspired by the Scanimate analogue computer system. Lines and textures were animated by transforming them within the X, Y and Z dimensions. These movements were recorded and multiple tracks of the same animation, but delayed and keyed over itself many, many times, created the multiple motion trails and other motion effects - similar to the multi-pass work done on the Scanimate for delayed motion effects. Spheres, planes, ripples, helixes, distorted planes and mirror effects are all featured in various manifestations - creating infinite fields and moire patterns for the viewer - something the real Scanimate could achieve by the warping of CRT rasters. - Jeffrey Plaide 

Thanks for the tip Chris Warrington