The Color of an Echo III, by Milieu

The Color of an Echo III

by Milieu

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da5idh Sublime subliminal splendour, immersion in a floating space, temporally adrift on a subtly shifting wave of tonality.

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1.	The Color of an Echo III.I 02:26:40	buy track
2.	The Color of an Echo III.II 03:19:53	buy track
3.	The Color of an Echo III.III 03:07:28	buy track

about

On the evening of June 7th, 2021, I recorded a simple session of sustained-tone room feedback, which was very sinusoidal, heavily filtered and modulated by a chorus effect. I sat with this session for several months, enjoying the chord of the feedback wall, but feeling that there could be more to it, some kind of depth that could be conveyed without altering what was there already.

I ended up routing the session's audio through three different pitch shifting and time stretching processors, each one affecting a unique granular perspective, which I would then reprocess with parametric equalizers, more filtering, and some subtle reverb and delay effects, all according to the prominent frequency bands that became highlighted in the pitch/time-affecting process.

To fully illustrate the differences in processing, one processor was actually an app on my mobile phone, another was a piece of desktop software that has been around for so long, I actually used it to edit things in highschool for my broadcast journalism class. The third was the most modern and hi-fi of the three, and yet I love all of these processors for very different reasons.

Ultimately, The Color of an Echo fulfills the purpose of the title - a deep exploration of the ambient possibilities within room feedback - while using digital fidelity itself to present wildly different takes of the same basic idea, using the same exact session recordings.

All of this, and still no mention at all of the emotional content of these recordings. I have no real commentary to offer, that I do not feel these sessions can convey on their own as pure sound, but I will add that I feel they are beautiful sonic obelisks, far more ornate than my very technical notes and processes might imply, much more than a simple proof of concept. However, even now, on the other side of almost nine hours of music, I still feel completely certain that I have barely scratched the surface of room feedback sessions, and the near-infinite possibilities that still reside there.

credits

released July 25, 2022

W/P by Brian Grainger. Recorded at White Pillar, June 7 2021 (initial session) and July 2022 (secondary session) using room feedback and three different digital signal processors. Mastered by The Analog Botanist. Text and design by ABM&D. This is Milieu Music number AVB47. (C) + (P) Oscillog ASCAP 2022. All flights deferred.

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Vibratelepathic Antiviral Broadcasts Dayton, Ohio

Explorations in generative music, ambient synthesis and audioholistics.

"It's music... I think"

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