1. This is a documentary about noise music, produced for a school project at State University of New Paltz.

    Shot mostly with the Sony HVR-Z1U.

    Most of the b-roll and other shots were shot with a Canon T2i with Nikon lenses.

    # vimeo.com/11354480 Uploaded 2,047 Plays 0 Comments
  2. To fans of free improvisation and the Japanese onkyo, or noise scene, Toshimaru Nakamura needs no introduction; to newcomers, the name of his instrument the no-input mixing board may sound forbidding, as if its output would sound more machine than music. But for over a decade, Nakamura has cultivated a world of tones from this unlikely instrument, both harsh and mesmerizing, humanist and expansive with something to lure in music fans of any stripe.

    Says founder of Samadhisound David Sylvian, Egrets has Toshi's signature minimalist stamp but sonically there's a lot more variation to this work. I have great admiration for Toshi, for his sense of discipline, his risk taking, his openness, generosity and intelligence.

    Learn more: samadhisound.com/toshimarunakamura

    Dir: Phil Hopkins.

    # vimeo.com/16409171 Uploaded 3,550 Plays 4 Comments
  3. Like a cavalry army, the no-input mixer and feed-backing guitar are fluid and powerful but difficult to control precisely. Justin Asher's "Siege of Zhongdu" is an interactive, electronic feedback piece for a trio of no-input mixer and 2 feedback controlled stratocaster guitars played through hand held honeytone amps. The no-input mixer controls the output of each feed-backing guitar and integrates their sound in to the loops generated by the mixer, multiplying it's waves. The graphic score translates the long range movements of a 5 year siege of the ancient city of Zhongdu by the army of the infamous Mongol conqueror Genghis Khan in to sonic and physical movements of the trio. The result, like the siege, is violent, plotting and overwhelmingly successful.

    # vimeo.com/36434580 Uploaded 114 Plays 0 Comments
  4. memorial cervix is an improvisational noise duo based in san diego, california. the duo combines ian carroll on trombone with clint davis using a no-input mixer and electronic gadgetry. together, they use electrical and acoustic feedback loops as chaotic source material for improvisation.

    videography: jeff kaiser

    Uploaded 129 Plays 0 Comments
  5. An audio mixer patched to be a chaotic synthesizer.

    You can apply this "hack" to any audio mixer with aux sends. The more sends the better.
    The key is to connect aux send outputs to track inputs, allowing to generate a feedback loop, and then turn up the gain and get started.
    What happens then appears to be chaotic - infinite recursion, lots of parameters that affect each other, resulting in wild sounds.

    You can create scenarios where classical analog synthesis is at work, and the EQ and send buttons become known parameters like a pitch LFO with depth/strength and frequency or a lowpass filter (or any other filter type).
    However, it's hard to reproduce stuff or understand what's going on.
    Sometimes you will not hear anything, and the "engine" seems to be off, but still inaudible frequencies are generated at high amplitudes - they will become visible in a waveform view of the recorded signal.
    So it's best to put a limiter or something in the signal path if you have sensitive or valuable devices in the chain. I never damaged my cheap no-name amp tho.

    The setup used is a Behringer MX 1604A mixer with 2 Aux sends, aux 1 out is connected to track 1 in, aux 2 out is connected to track in 2. Thus, aux send 1 on channel 1 and Aux send 2 on channel 2 are the main forces here.

    # vimeo.com/21452001 Uploaded 838 Plays 0 Comments

noise

Herman Müntzing

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