Particulate Matter SA.5 / The Aysee Adaptorion

 

This work was created by using a circuit bent CASIO SA-5 and collecting 130 different accidental "states" of sound (an average of 2min per sample) generated by that instrument about 2 months, from which "musically meaningful" samples were selected and extracted, and displayed in as seamless a sequence as possible.

In the past, SK-1 and PT-280 I had bending could be operated intentionally to some extent by turning some added toggle switches on/off and by turning a variable resistor. But SA-5's circuit was designed simply with an integrated chip, making such modifications almost impossible. Therefore, main modifications to SA-5 were several push switches to momentarily short internal clock and an addition of a feedback volume. In other words, that instrument was completely dependent on contingency, including timing and length of switch presses. The artist pressed the switches over and over again until a musically meaningful sample appeared, recording and extracting each time he encountered an interesting situation. There are several samples that look as if they were played spontaneously, but the artist never play at all. He only occasionally held some key just before pressing bend switches and turning a feedback volume - to obtain a change in output.

"Musically meaningful" sound state here suggests a state in which the output sound of the electronic instrument used as the sound source is completely destroyed by a hardware error, yet the result can still function musically - sometimes as phrase loops or sequence patterns that are completely different from original preset patterns. I've tried to avoid the disorderly and unprincipled results that are often seen in works centered on circuit bending, and have tried to create a content with dignity.

No overdubs were applied to any tracks, and they were kept almost exactly as they were recorded. Ordinarily, these music should be given a chord progression or reworked to make it more musical. However, there's a major problem in that it would be no different from "merely composed music". If so, there's no need to go to the trouble of bending instrument's circuit. Even formation of the bass and chord progression must be the result of the output from it. This is an extremely critical matter that can be mentioned in common with any work that predominantly uses circuit bent electronic instruments.
(Despite this intention, only the last track "particulates sa.v.xx" is edited by combining several recorded samples. This is a reference for an example of "merely composed music". Each was given the function of a musically meaningful component, even though it didn't destroy the original sample itself or its own original atmosphere. As a result, amounts of information originally possessed by each individual has been drastically reduced, and they've lost their own subjectivity. This tune presents such a fact.)

It's also easy to make noise exist as NOISE in circuit bent electronic instruments. Playing with it is merely the personal experience of the person who turns on the additional bending switch, and is far from a musical position. The most difficult thing is to obtain an output state that has musical meaning and allows the emergence of the énoncé.

Therefore, major musical ideal in circuit bent electronic instruments, similar to field recordings, installations, and photography, has the following 2 points are of primary significance:
- To capture a contingent "state" that can be reconciled with artistic intent
- To be able to define by what assumptions this is before y/our eyes

What we must be aware is that we should never seek artistic loftiness in them strongly. Noise or glitch are categories of experimental music, niches that can't advance to the majority, and aren't objects that can be elevated to art. That's only part of the method or technique. Surely, it can be said that the establishment of the concept of circuit bending is a genealogy of aleatoric music/chance music, and circuit bent electronic instruments may give an illusion of being instant intonarumori. But the output results are only somewhat similar and can't be compared in terms of the formation process. The healthiest is the degree to which it can be loved by a few enthusiasts. It's most healthy to be small enough that a few enthusiasts can love it.

Conversely, as far as the recipient is concerned, intelligent attitudes or criticism are welcome. This is because it expresses one's personal intelligence and education and gives a new meaning to the object of criticism. There is no common correct answer, only individual interpretations. The object that you feel good is definitely good for you, and vice versa. It's a simple fact.

 

 

 

Reference: SA-5 all preset demo parts
particulates sa.v.i  const industrialMachinery = [
  rec_114,
  rec_18_30,
  rec_25,
  rec_125,
  rec_95,
  rec_117,
  rec_58_n0,
  rec_74,
  rec_83,
  rec_104,
  rec_15,
  rec_09,
  rec_17,
  rec_36,
  rec_67,
  rec_126,
  rec_79_n2,
  rec_62,
  rec_120,
  rec_121,
]
particulates sa.v.ii  const dischargePort = [
  rec_71,
  rec_122,
  rec_46,
  rec_118,
  rec_28,
  rec_123,
  rec_34,
  rec_10,
  rec_03,
  rec_32,
  rec_73,
  rec_52,
]
particulates sa.v.iii  const dieselDrones = [
  rec_76,
  rec_98,
  rec_66,
  rec_107,
  rec_07,
  rec_89,
  rec_106,
  rec_70,
  rec_85,
  rec_14,
  rec_44,
  rec_92,
  rec_116,
  rec_94,
  rec_90,
  rec_20,
]
particulates sa.v.iv  const aleatoricAerosol = [
  rec_16,
  rec_04,
  rec_55,
  rec_29,
  rec_96,
  rec_110,
  rec_87,
  rec_68,
  rec_108,
  rec_69,
  rec_61,
]
particulates sa.v.v  const nonAbsorbableAssort = [
  rec_115,
  [
    rec_81,
    rec_103_a,
    rec_103_b,
  ],
  rec_105,
  rec_19,
  [
    rec_91,
    rec_97,
    rec_82,
    rec_124,
    rec_109,
    rec_111,
    rec_100,
  ],
  rec_102,
]
particulates sa.v.xx  const intentionalFormedNoiseDrone = {
  rec_127: [
    { rec_127: ['eq', 'stereorize'] },
    { rec_53: 'short delay' },
    { rec_06: 'eq' },
    { rec_114: 'short delay' },
    { rec_93: 'tape echo' },
    { rec_36: 'eq' },
    { rec_34: 'tape echo' },
    { rec_72_stabseq: ['eq', 'analog echo'] },
    { rec_43: 'eq' },
    { rec_11: ['reverb', 'binauralizer'] },
  ],
  rec_127_original: 'bonus material',
}

 

sound generator: circuit bent CASIO SA-5 by The Aysee Adaptorion
no overdub, no addtional FX (excepts particulates sa.v.v bridges, particulates sa.v.xx)
recording date: 2022-05 - 2022-06

all composed, mixed, mastered by The Aysee Adaptorion
photo, edited, designed, produced by odradek7743

copyright(C)2022 The Aysee Adaptorion, D.i.D. UNITED synthetic expression, delphinix.ws, Gadgetron Sounds all rights reserved.