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We’ve updated our Terms of Use. You can review the changes here.

Music Ain't for Airports

by Garrett Semmelink

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1.
Music Ain't for Airports 13:51
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2.
Rococo Slaughter 38:01
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about

___MUSIC AIN'T FOR AIRPORTS___

Think back to the last time you had to visit an airport in the United States. You're sitting in some brazenly uncomfortable airport bench, anxious from having just had your junk fondled by an old person pushing sixty in a blue uniform; annoyed by the hoards of people who take far more personal space than they require, and; overwhelmed by the slap echo hustle and bustle that seems to be present in every such complex of buildings.

Only the deliberately psychopathic would dare look at such a scenario and suggest: "let's AstroTurf this environment with the playback of commercial music recordings. That should plug up this glaring hole of thoughtlessness, bureaucracy, and corruption." And yet, here we are.

Given all the events, which have transpired since 1978, one could easily conclude that music ain't for airports. However, hindsight being 20/20, it was perhaps essential that somebody conceived of such an exaggerated expansion in the size and scope of music's reach. For it is now exceedingly clear today, that the literate mind's tendency to disrespect the confines of music's glory, is on display in numerous social dilemmata.

Music may put more asses in the seats, more shoppers in the supermarket aisles, and more enthusiastic workers into boring office jobs - but what other human ingenuity have we tossed aside, which could have more adequately addressed such concerns? Worse yet, what has this severe mis-allocation of resources done to stall and disarm the lateral, multi-dimensional expansion of the sonic arts required for the survival and evolution of modern humanity?

Music can't solve our problems; it can only synthesize new ones. It is our hope that you have a very, very troubled day after listening to this recording.


___ABOUT THIS MUSIC___

Contained in this release is some of the most honest electroacoustic music ever recorded. We do not accept the notion that needlessly-proprietary software, clownish MIDI-driven hardware controllers, and post-production belong anywhere within the realm of live electroacoustic music. More broadly, we detest the very notion of utilizing a digital audio workstation (DAW) application to compose, perform, edit, or mix pieces of live electroacoustic music. No such practices were utilized in the making of this audio. This honesty forms the entire basis of the Sonic Multiplicities concept.

All three pieces were performed live in the living room of a private residence in Brooklyn, NY, and recorded with no overdubs, edits, additions, or subtractions after the fact. What you hear is precisely what the performer heard in their own headphone mix, and what the recording engineer heard during tracking.

The Sonic Multiplicities software outputs a 17/18 channel audio file - 16 channels of third order ambisonics plus one or two mono head-locked raw input tracks of the musician(s). From this master mix we generate the following consumer-playable versions:

1. 2-channel stereo mix for high fidelity speaker playback. (This is the format provided here.)

2. 2-channel binaural headphone mix for web/mobile playback clients. (This is the format provided by the official SM RSS feed.)

3. 16-channel ACN SN3D ambisonics mix, with the 1/2 musician inputs downmixed into the ambisonic soundstage. (Please email us for a copy of this mix.)

4. 18-channel ACN SN3D ambisonics mix, with the 1/2 musician inputs head-locked into the W channel position of the ambisonic mix. (Please email us for a copy of this mix.)

credits

released January 31, 2020

Garrett Semmelink: Violin, Prepared violin, Percussion, Voice
Andrew Grathwohl: Composer, Programmer, Engineer, Producer

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▲ New York, New York

The premiere ▲ ensemble, dedicated exclusively to performing works of Sonic Multiplicities, the data-driven, AI-assisted electro-acoustic improvisation platform and philosophy developed by Andrew Grathwohl. The ensemble is headed by Garrett Semmelink, as the ▲ organization's lead Sonicmeister, and serves as its main performer, utilizing violin, viola, voice, and percussion. ... more

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