Assembled by hand, one copy at a time, in the White Pillar Workshop! Eight white 5" recordable discs, duplicated and printed via an Imation D20, held inside a black plastic multi-disc box (similar in size and shape to a VHS tape), with a wraparound cardstock insert (in either grey or recycled brown) bearing a circular matte finish logo sticker on the front cover and custom text labels on the spine and back cover.
Includes unlimited streaming of Divergent Paths [Volume Four]
via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
Sangean Sea III is a slight misnomer, as this session was generated by a CCrane hurricane radio, tuned to something/somewhere on the FM band, and not the Sangean shortwave radio that initiated this session header. In hindsight, this is a small deviation from the original path, and so with this third iteration of Sangean Sea, the header expands to include any radio-sourced experiments.
This session was a relatively simple setup, relying heavily on extremely slow envelopes modulating a highpass and a bandpass filter, with a chorus-modulated reverb on the aux send, and a single stereo-inverted delay of the pre-reverb signal path. A "nothing and nowhere" location on the FM band was found and then sent into Mutable Instruments Clouds, where it was used as a constant sampling input source for the eight-second buffer, and rearranged probabilistically before being sent back out through a granular reverb. The highpass filter is heard first, slowly opening to allow more and more of the lower frequency spectrum, then when it has completely opened, the bandpass filter is introduced over time, with its initial position locked in the sub-bass range with a bit of resonance applied. Once the dry/wet mix fully transitions to the bandpass, another slow envelope begins to sweep the bandpass filter's central frequency upward, until it too leaves only the high frequency band. At this point, the original envelope that introduced the bandpass filter's saturation is inverted, to slowly re-reveal the original state of the radio band, with no filtering applied at all, and slowly, again the highpass filter is reintroduced, and fully saturates the piece until nothing but static is left to fade out.
The purpose of this session was to explore, very slowly and almost pointillistically, the presence of all possible frequencies simultaneous in noise, albeit noise generated via radio tuner and not a noise generator within a synthesizer. By slowly moving the center of a filter around the frequency spectrum, different tonal and textural characteristics are emphasized at different moments, with the reverberation applied in the auxiliary send allowing all of this change in color to occur in a greater "external" space, simulating the natural reverberation of the outdoors, perhaps a wooded clearing away from buildings. A solitary retreat in the forest, still longing for and dreaming of the vivid sea, while the waves are eventually revealed to be nothing more than an out of tune radio next to a sleeping bag in a dim tent.