Make Noise Records is proud to announce the Shared System Series! It is available for purchase and TRASH_AUDIO is the only place you can purchase it from online for the time being. Please visit the Make Noise Records webpage for more information and artist statements.
The Shared System Series compiles the separate recordings of several artists utilizing the same electronic musical instrument, the Shared System. At times it feels as though electronic music has become an overly automated form driven by simplified genre specific apps and software. What happens when the signal path is not pre-defined or optimized for a popular result? The Shared System is a modular synthesizer developed by Make Noise. It has no pre-determined signal path, and is not designed for any particular musical destination. In limiting the artists to this one instrument, we hope the Shared System Series of records will purely illustrate the intentions of the artists.
Mastered for vinyl by Audible Oddities, etched into high quality master lacquers made by SAE Mastering, and shipped to URP for pressing. The result is a high fidelity 7″ record. Like the Shared System instrument, the sleeves for these records are a combination of digital and analog technology. They are designed using computer software and printed using a hand-cranked letterpress called the Vandercook 4.
Robert Aiki Aubrey Lowe: Heptagramic Approximation & Alpha Crucis – $8
7″ Clear Vinyl, Limited to 500. Letterpress Cover. Includes stickers.
Statement From Keith Fullerton Whitman:
“Borrowing a bit from the techniques that Pauline Oliveros used in her earliest pieces, I started by running the Wogglebug at audio-rates, using the smooth & stepped outputs as an fm-source for the DPO running at sub-bass frequencies & patching the clock into the Rene running a diatonic sequence. The various wrap-around heterodynings essentially added a third “voice” to the patch & the resultant “tonal” rhythms started resolving themselves in nice ways, reminding me a bit of the sort(s) of experiments with drum-programming I carried out in the mid-90′s whilst I was still recording as “Hrvatski” … there was enough gain in the input of the Phonogene to preamp a small battery-powered microphone, which was getting a real-time feedback loop of the sounds the Skiff was creating, plus a little bit of drone-singing & in-situ Concrète-sound – both track were recorded in real-time to a PCM recorder, a digital dictaphone, and a cassette walkman.”
Unfortunately for international buyers, shipping rates have nearly doubled. Sorry for the inconvenience.