I highly reccommend listening to and purchasing the whole album if you like bach style soothing-yet-maths-based music.
Mostly associated with the monome.
"When I see a photo of a modular synthesizer, I wonder, as I think many others do, what the thing sounds like. What possibilities lurk within this strange hardware? I want to hear something orchestrated and controlled. I want to hear someone commanding the instrument with authority, not merely floating on waves of serendipity. I want to hear something composed for the instrument, leveraging its strengths, not a orchestration of an existing composition.
'A Funneled Stone' is a pure modular synth release, tracked the old-shool, 1970's way: one monophonic line at a time. Every sound you hear was created, patched and recorded for that moment in time. When a new sound is needed, the patch is torn down and a new one is built. Polyphony is achieved by tracking each voice individually.
A modular album is, by definition, unapologetically synthetic. I also tried to take a more minimalist approach to orchestration, so the individual sounds can be more fully isolated and appreciated. I spent much of the final month of production taking elements out, and editing for length. Sometimes this results in the remaining elements merely hinting at the underlying harmonic movement.
As you can imagine, this process is very time-consuming, but fun. I hope you enjoy the results as much as I enjoyed creating it."
For more super-hi-tech-math-music have a listen to this: http://detroitunderground.net/blog/2012/05/03/vaetxh-libet-t...
That page has technical descriptions of what's happening in each track. Risset illusions are just the start of the psychoacoustic trickery which goes on in that record.
A word of warning however: unlike the stretta stuff, the Vaetxh tracks are REALLY NOT SOOTHING. If you are soothed by them, seek help.
edit The noticeable change seems to be very close to 22s.
I'm not quite sure what I imagined the experience would be, but to my perception you're right... even when the switch-over (from the higher note as the most prominent, to the one an octave below) is very smooth, there's just a moment where you hear both notes clearly, then the higher note fades out.
It might be more interesting to play with Shepard tones in a more complicated arrangement -- i.e., instead of one prominent note that fades into the next one an octave down, you might have 4-5 prominent notes, fading into others with staggered switch-overs -- possibly all at octave splits, but possibly in a more interesting harmonic blend.
The idea is still interesting. :)
If you don't correct for that when synthesizing your tones, then one pitch may be much more prominent than the others.
I'm curious if you happen to be a musician or a sound engineer?
That falling tone on the Wikipedia page sounds like something from one of coil's tracks. I can't pinpoint which one though? they use similar sounds here http://www.youtube.com/watch?v=c6IR90tgtDI and here http://www.youtube.com/watch?v=9_R-mXRONh0
edit Expectation may pay a part - when told "come and listen to this 'endlessly falling' auditory illusion" of course I'm going to try and pick out the subtle seams. I might not notice if it was in the background, unannounced.
The inspiration for "Águas de Março" comes from Rio de Janeiro's rainiest month. March is typically marked by sudden storms with heavy rains and strong winds that cause flooding in many places around the city. The lyrics and the music have a constant downward progression much like the water torrent from those rains flowing in the gutters, which typically would carry sticks, stones, bits of glass, and almost everything and anything. The orchestration creates the illusion of the constant descending of notes much like Shepard tones.
I'm listening to this version: http://www.youtube.com/watch?v=DfJa3IC1txI
I'm just not sure if the role of HN is to educate users on 'cool' things. Maybe its because most of the US is currently sleeping...
I didn't know about it, and found it interesting.