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Barry Dillon - ThirtyThreeFour334

from mesmeric membrane modulations sweepings by various

/

about

Hello Alien Research,
 my name is Barry Dillon, I’m from Ireland. Attached in the attached in the acc0mpaning ZIP file, please find my entry, for your consideration into your ‘CALL OUT FOR 4’33” WORKS DEDICATED TO RADIO’
The piece has the following attributes,

1. Duration: 4'33. YES.

2. Be Musique Concrète YES.

3. The track to be exclusively made for the Institute For Alien Research Musique Concrète compilation series YES.

4. Pieces to be made themed; Radio Frequencies. YES.

5. Make a piece of artwork/image or logo, 1500 x 1500 pixels in size YES.
Attached with in the ZIP file

6. Send as a best quality wav up to 48.000 kHz 32 Bit to institute4alienresearch@gmail.com via wetransfer. If you are reading this document, this step has been completed. 

7. Send supporting text, explaining the process of making of the track,
and/or about your project, links, biography, etc. please see the page below for a brief description of the processing taken in the creation of the piece. A short bio and the web Url to my web site.

8. Finished compilation will go up on Bandcamp



Short Bio of Barry Dillon

Barry Dillon (b 1962) is a Sound Designer and Composer living in the Burren region
of Co Clare, Ireland, working in the areas of Electroacoustic, Acousmatic and Radiophonic Sound Collages to create "Fixed Media and Interactive Installation" pieces of Sound Art.
He comes to working with Sound and Music from an Engineering background i.e.
Electronics Engineering, Computer Science. My primary instrument is the synthesiser ie 'tactile, Hardware' and 'Software' systems. Now having said this I am not adverse to manipulating Field Recordings, Audio
Samples, Digital Data (Graphics, Protein Sequences etc.). I compose, primarily for fixed media (digital files for rendering, installations and CD, Installations) where I use, both a standard and a more experimental approach to my compositions, and finished productions. With the aide of computers, my musical creations are realized entirely in the digital realm. This in turn, presents me with the opportunity to call upon an entirely new sonic pallet, allowing for the manipulation of both the spectral and temporal attributes of the sound. Audio programming languages like Csound, Supercollider, MAXMSPJitter offer an near infinite number of possibilities for the synthesis and manipulation of sound.
I derive and get most of my inspiration from two sources. Firstly, a passage from the book “The New Atlantis” (1627), by Francis Bacon. And secondly, a lot of the source material and ideas for my compositions come from the attributes and idiosyncrasies of the Natural World. I have used MRI Brain Scans of MS suffers as source material, the signification of the images, or using the protein sequence of "alpha-Carotene". And then there is the Seismic recording of the North Clare Earthquake of the 6th of May 2010, which is the loudest recording of any Seismic event on the island of Ireland, which I used to create the sound collage used in the "Scapes", multimedia installation.
My thinking on Sound is "That the character of the sound, its quality, and the context into which the sound is placed in, are all characteristics of the sound of equal importance, to the attributes of Pitch and the temporal qualities of the sound. There is no such thing as a Bad Sound, only a sound unsuitable for a given situation". He has studied Electroacoustic and Computer Music in both TCD and the University of Limerick to Masters level.

My web site URL: barrydillonmusic.wordpress.com


ThirtyThreeFour334 creation description.

The original initial Sound material was made up of two different source-recoding types, 1. Environmental Samples and 2. A number of ‘Cropped audio snippets’, from other audio material.

The piece was realised on a Macbook Pro, using the following tools. The Oceanaudio Sample editor is used to tidy up and clean the samples, ie reversing, Re-enveloping and redefine the transients. The PaulStreach software was further used to process and modify the audio material.
Finally the samples and the final Master mix, were processed by some or all of the following “Processing/Modifying” software, Eventide Fission, Air Technology Effects, GRM Tools 11.

credits

from mesmeric membrane modulations sweepings, released January 10, 2018

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