[Logic] Binary Buffer (OGG, XM)

[Sam_Zen]

A work from 2001. A technical composition, where the score and sample size, so duration, is strictly binary.
So 8 samples with size 32 KB to 4096 KB, derived from the same source.
The mix can be found here and the XM-module here.

[Harbinger]

This is the first of your compositions i've DL'd, because i never know what you're "genre" means. What is "logic" kind of music?

Okay, so i'm a logical kind of person and composer, and i figured you meant "computer-structured." So i took a chance....

What i heard only confirmed my suspicions of you: you are the electronic music world's version of Satie. (Look'im up if you don't know, but my guess is that you know who he was.) I say this with the utmost of respect and the highest of praise. Here's what i mean...

Satie had the ability to experiment with music and yet still sound musical. He could in one suite be both Expressionist and Impressionist at once. In his Gymnopedies he was as soft as lilac, but in his Gnossiennes he was medieval and mystical. Some of his works could easily serve as the soundtrack for many Vaudevillian shows or silent pictures, while he could easily compose a bourgeois pop song.

His innovativeness influenced Stravinsky, Debussy, and Ravel quite noticeably, but he also created a small group of "disciples" known as Les Six, among them Milhaud and Poulenc.

Well, sir, loosely speaking, i'm Poulenc to your Satie. I like to think i'm innovative, but i'm not experimental. I saw your Pascal structure there in this song, which you think would be absolutely cold, but there was actually something stimulating with your choice of timbre. AAMOF, i bet you could use the same structure with different samples and get a brand new song with its own "story."

Needless to say, i should go back and DL some of your other works. I bet i could find some gems in there....

[Sam_Zen]

Thanks for the interesting response.

The comparison with Satie is new to me, I will think about that.

With "logic" I just mean the basic rules used in a composition. instead of some tone-scale.
Where, as you mentioned the timbres, I can modulate the resulting sources according to my taste.

you could use the same structure with different samples and get a brand new song with its own "story.

That's right. Because I consider a set of samples as an 'ensemble', which can perform different songs.

I don't see these things as experimental. I don't publish experiments, only the results.

[Saga Musix]

Interesting tune. I like the samples very much, this "binary" sound is really impressive.

[Harbinger]

Actually if you're Satie, then i'm Milhaud. He was a little bit more classical and not quite as 'experimental.' And when i use the term experimental, i mean not that you push boundaries by trying new stuff. Rather i mean, that you compose with abandon, probably very thought-out and considered, but disregarding traditional rules that would hinder you.

[Sam_Zen]

A nice observation. The 'hinder' option is an important item indeed.

The electronic area offers me much more freedom than the traditional, academic model derived from the acoustical practice.
So I want to use these opportunities. If it's a part of the composition.

But pushing the boundaries all the time, would be a boring gimmick in the long run as well.

The freedom also offers me the choice to just use some plain blues chord-scheme..
So sometimes I'm more Milhaud, sometimes I'm maybe Pierre Henry.

This is the complete piece stretched to 0.6 secs.
So it could be used as a sample in a next composition.

[bvanoudtshoorn]

Nice! I like the concept. It actually reminds me a bit of the sort of experimentation that the minimalist composers, (Glass etc.) did. Although a bit too short... Perhaps if you extended the track to 3.24seconds... ('Cos in binary, that's 11001100 seconds. )

[Sam_Zen]

That's the idea.
As soon as you have some sound material, you can make a choice to resize it to a certain duration.
To use it in a certain compositional environment.

You can make a bar with a sequence of notes at 120 BPM.
But what if the same sequence is played back with a clock (step) speed of 5 kHZ ?
One will not hear some phrase anymore, but just a waveform with a certain characteristic sound.