Composition includes parts 1) to 5) 1) 2) and 3) are algorithmic and played by finite automata, while operator selects the best results 1) and 2) create what some people call the groove but it goes slightly away from industry standards Sound engines are based on digital waveguide (1) and FM synth (2) 3) clocked pad. Tricks with clock dividers and Boolean functions are pretty similar to groove part but the intervals are relatively large and consonant 4) and 5) played by human in more traditional manner 4) could be performed on regular bowed strings or physical model 5) solo on keyboard polisynth Actually there are 4 tunings: 53-ET for automata, 24_1401 UT for clocked pad, 24_1402 UT for string and 24_701 UT for polisynth solo. 24 stands for number of tones within the scale and 1401 (1402, 701) defines scale width in cents. All UT scales were calculated by author.
! 24_701 C-D-E-F-G 16-33c 24 ! 33.25790 48.29700 82.72483 115.99250 149.43010 182.66845 199.21733 231.97523 266.24290 282.45193 315.87975 350.13765 384.22563 400.11435 433.54218 467.47000 500.72790 534.14595 551.03468 583.96250 617.04070 650.30838 683.69166 700.95500
Born in Kyiv, 1967. MSc in Audio engineering (1992), PhD in Psychology (1998). My more or less recent projects are: - solo works for modular and keyboards a.k.a. keyboard studies; - duos for electronics with strings including violin, cello and bandura (traditional Ukrainian lute); - tracks for audiovisuals; - songs and keyboard parts in rock music. Participated as a composer in some international events including ICMC-2007 and ICMC-2008. Occasionally used alternative tunings since 1993 and finally went totally microtonal.