View allAll Photos Tagged noisegate
Original promotional graphic for the “National Grid” performance by Disinformation, staged at the Royal College of Art, London, 5 Dec 1996. This second ever presentation of “National Grid” was performed live by sound artist Joe Banks, and organised for the RCA by Jon Wozencroft. “National Grid” was performed using a VLF converted shortwave radio, to intercept and to make audible the ambient electromagnetic waves, which are generated by live mains electricity, and which surround us, normally undetected, in the environment. The fundamental resonant frequency of mains alternating current is standardised at 50Hz, however, in performance, the output signals from the radio were tuned to different musical frequencies using the upper and lower sideband filter (effectively a kind of electronic pitch-shifter or ring-modulator) on the radio. Later versions of “National Grid” used live outputs from mains electrical transformers as the source of the 50Hz signal.
The first “National Grid” performance at club Disobey, 10 Oct 1996, received publicity in The Evening Standard newspaper, and in the MTV music magazine “Blah Blah Blah” (the documentation will be posted here in due course).
This graphic also appears on page 25 of “Noisegate” magazine, issue 5, published 1996. The magazine also features a review of a sound installation by Christina Kubisch at the Sonambiente Festival, Berlin, in 1996 (which seems to have featured amplified street sounds and construction site noise), and features an advertisement for a performance by Christina Kubisch, scheduled for the following year, to be held at the Goethe Institut in London. Nearly a decade later, Christina Kubisch presented her “Electrical Walks”, in collaboration with the Goethe Institut and South London Gallery - the latter having published a recording of “National Grid” on their “Sound Factory” CD in 1998. For more information about the earlier project please follow this link -
this is a specimen of Expectorii maltacopescado (magnified 1011½x) with clearly identifiable nucleus, hypochondria, capacitors, noisegate, and fignuts.
it lives in the human digressive system, and typically spreads through sexual tension and not looking both ways when crossing a one-way street.
its favourite colour is brouwn.
Details of a podcasting setup for Lip Gloss and Laptops. See www.penmachine.com/2006/03/our-quality-basement-podcast-s... for details.
An infographic detailing the history of guitar effects, starting all the way back to the 1930s with Rickenbacker’s Vibrola Spanish Guitar and progressing to the present day. Along the way, we’ll see iconic guitar-effect breakthroughs like gain and reverb in the 1940s to 1950s’ effects like fuzz (discovered by accidentally dropping a Fender Bass amp on a rainy street!) and distortion (the fortuitous discovery when Link Wray stabbed a hole in his amp’s speaker). The guitar effects hit their stride in the 1960s with the first transistor-powered guitar pedals, including the first wah-wah pedals and the first octave effect pedal among glorious others. The explosion of effects pedals in the 1970s reverberates today: signal alterations, distortion, modulation, time-based effects, and filter effects. A timeline of all these effects along with the iconic musicians who used what—Bo Diddley’s Trem Trol 800 Tremolo, Jimi Hendrix’s Leslie rotating speaker, the Rolling Stones’ Maestro Fuzz Tone, etc.
Feel free to use this infographic but please give credit with a link to www.songsimian.com. The original infographic, with embed codes, can be found here.
OSC is an installation dealing with interference, slicing time and the perception of time itself that tests the senses of the viewer. Interference and stroboscopic patterns give a new dimension to the perception and experience of time. The audiovisual overload of OSC sheds light on the question how our sensory apparatus constructs meaningful experiences from information without reference.
Ulf Langheinrich (D) founded the media art collaboration Granular Synthesis together with Kurt Hentschläger. They collaborated on numerous large scale immersive installations such as Modell5, Noisegate and Areal. Since 2003 Langheinrich has realised several solo projects aimed at achieving a direct sensory impact. They focus on creating specific modulations of the projected material in time and in the projection-space, and effecting interference movements between the perceptive and processing potential of the eye-brain-apparatus.
OSC is an installation dealing with interference, slicing time and the perception of time itself that tests the senses of the viewer. Interference and stroboscopic patterns give a new dimension to the perception and experience of time. The audiovisual overload of OSC sheds light on the question how our sensory apparatus constructs meaningful experiences from information without reference.
Ulf Langheinrich (D) founded the media art collaboration Granular Synthesis together with Kurt Hentschläger. They collaborated on numerous large scale immersive installations such as Modell5, Noisegate and Areal. Since 2003 Langheinrich has realised several solo projects aimed at achieving a direct sensory impact. They focus on creating specific modulations of the projected material in time and in the projection-space, and effecting interference movements between the perceptive and processing potential of the eye-brain-apparatus.
Max hewat vocals,Vince mcbain bass,tony drums and alan scanlan lead guitar.Deans community highschool.
Four virtual horizontal displays glow in the darkness like aquariums. A core of dimensionless abstract movements derived from normal narrative film material is presented in four almost identical versions. They drift apart and re-sync again at random. The sound is almost inaudible. Soil was originally created in 2004 and is the first result of ongoing research into time structure and field creation. Soil simply states a field. The question was whether such a diffident approach would still create work that successfully conveys a specific vision of time, depth and purity.
Ulf Langheinrich (D) founded the media art collaboration Granular Synthesis together with Kurt Hentschläger. They collaborated on numerous large scale immersive installations such as Modell5, Noisegate and Areal. Since 2003 Langheinrich has realised several solo projects aimed at achieving a direct sensory impact. They focus on creating specific modulations of the projected material in time and in the projection-space, and effecting interference movements between the perceptive and processing potential of the eye-brain-apparatus.
Finally: shipping february 2018!!! ;-) WMD (@wmdevices) Geiger Counter Pro * * * bit.ly/2mSCXbM * * * #wmdevices #wmd #geigercounter #pro #syntheffect #synth #syntheffectpedal #synthpedal #compressor #compressorpedal #parametricequalizer #parametriceq #parametricequalizerpedal #parametriceqpedal #tremolo #tremolopedal #noisegate #noisegatepedal #bitcrusher #bitcrusherpedal #namm #namm18 #namm2018 #nammshow #nammshow18 #nammshow2018 #thenammshow #effectsdatabase #fxdb #geartalk * * More news at bit.ly/2DpmVS6, via Instagram: bit.ly/2rql8GA