changing everything, doing nothing
#1

you press a qwerty key. you hold down the key. the longer held, the more varied it is. 

changing everything, doing nothing. 

nothing. 

nudda. 

"go back to Compton you dirty negro, we don't sell watermelons here' is what A-cyclone yells at the white men at the Compton gun show once a year". 

that kind of vibe. 

so if you're not a white person, as in you're not wilfully dumb, read on...

Erosion

erosion, some of you app and engineers may be familiar with, but only me yesterday morning, is an ableton-integrated suite device. keep it simple. only say something once. 

Digitone

a better name for the product idea. just to clarify. 

what is it? 

it's a type of music module. hence, this is in the "audio production and engineering sect".

https://soundcloud.com/subversion-2/erosion-not-linear
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#2

i feel better confessing that nothing compares to the rematch between them tone modules. the rewiring. i need rewiring. what about other people?

"why just press down a key?
i am not a retard!"

stop induced messaging.  quit smoking heroin. 

to channel Statto, pressing one button, and letting one's mind not musical heroin dictate the next rocky virtuosness of your piece. is it just me or?

i am not worried about missing the point of www.boomkat.com

Even informally. casual host technologies, aka block rockin' beatz in the mourning of the death toll from 7pm onwards with "those guys on the bus, armed with the jaws for the bust and the chips of the trust". 

with the alert zone or anything pie related to the rematch between them tone modules like a drug addict like Teenage Engineering board; incredibly advanced and damn fine Shortcircuit 1-15 to someone else here....

Is it a nice idea, or do PI and PSI pieces of Newtonian Quantico just, to be honest like Naphta and Slug and Droid, are devoid of the passion of rhythmic pattern recognition devices....?

And it's very easy for me to remember my Virgin days with music, and not one who has now a massive amount of phone hacking bills through technological advances, handouts from employment and support allowance, and the right dose of the most expensive and unfunny, yet understandable form of sonic screwdriver in the universe - links between orbits, links between worlds.

to channel the past years ago on Subvert Central..
the burning question is...madness or fallacy?
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#3

The end result is, pretty much losing faith. 
The message is not clear.
Remember Hell Interface?
Hell Interface were legitimate but like this.

That's as it was mainly used to document live events from the process of revolutions in sound-sound, see sound on sound, in lieu of kosmiche Neu! and especially Tangerine Dream ordinariness of the main section section of psych.

so yes, even though i am a sack-surviving, unsexy dead fish, i am on medicine, truly a savant and proud of it.

it'd remix heads - for the 'ead to not be "pished" _Rab C. Nesbitt. The end result is pretty much predestined. I'm sorry if you think you are doing atm.
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#4

More clarity?

One note baselines
One note modular drones
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#5

Being technical on the matters lying above, a text...

Motion is often a creative light

If not, the attack heavy on sonic elements, gives reverse.

How is time changed? Input is delayed output recording. 

The attack is always balanced by "release", as in grain. 

(When talking about sound in noise synthesis). 

Hence to form co-variants and side chain, keep latency. 



But that's just a hyphen of music production static. 

The normative laziness of writers explains repetition.

See "Persistent Repetition Of Phrases" by The Caretaker.

Examples though is in simplest terms the "noodle". 



The noodle

Noodles are very common for ambient and jungle peeps.

The formatting of this post is meant as a long care give. 

To re-proportion the focus on "one note", see "sustain".


Sustain and sustainability

Modern classical fans know the Sustain/Release label. Run by Richard Skelton and his classical friend Autumn Richardson, rich noodles of classical vignette are all around on Skelton's "Marking Time" debut release - go back to 2008 there. 

Interestingly enough, poetry becomes known as release.

Why? Sustain makes no sense without sound. 

Sustain is sonic verbalisation; release is the dedication to the minor key; the middle eigth; or just the noodle - but you see my concern here: it is regularly just ham-fisted. 

All is for the best until the point of least resistance. 

As explained over fifteen minutes by Greg Haines and Nils Frahm on their epic poetry release on Sonic Pieces. 

Explanations - no answer, is an answer as well

Release on tone on trend; in that order. 

Naturally the writer of the element is also, in, out, in it. 

Back to the main topic, "Erosion" becomes more real. 

Too many nodules - the historian's word for noodles. 

And as that, a fish forms in the musician's writer's block.

Noodling, indeed.
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#6

I don't dislike ambient, I love it. But from 2016, some of the pressing-one-notes new age music is being classed as ambient music, when it really isn't.

Play one note, you have a recipe for a ungrateful attention span, and a negative review. New age is one gauge, all too often.
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#7

Subjectively, the music I'm radiologising this minute from three separate sources, could not be done without Important Records. 

I'm currently listening to the polar opposite of a one note spectrum. 

Ask Christopher Willits, Ryuichi Sakamoto, or Fransisco Lopez to play a tune, it will be 'out of tune'. 

Derivatively meaning, the drone has more than one note; one set of notes, conflab into an extraterrestrial genre. 

Some of us just call it drone. Then again, some of us subgenre the written word out of it. 

Drone, and the end to the drone, brings us back into the simplistic stuff that real ambient music is not about. 

Do read "Ocean Of Sound" by David Toop and friends for some interesting subgenre behaviours.
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