Notes

Tracks 01 to 06 are the last tracks I have recorded using C-Cassettes. In August 1999 I bought a portable Minidisc-player. The player was able to store the recording date so from now on the inception dates of the tracks is known precisely.

Tracks 07 to 27 were recorded in 9th to 31st of August.

Track 08 is called Solina. Solina is Finnish and means the sound which water makes when it flows around small pebbles and things. In this case the actual sound comes from the kitchen sink of the flat where I lived back then.

I had a microphone by the sink, let the water run and recorded the track live without much preparations. The basis of the track is a 7/4 beat that probably took a some time to create. Back then if a track took more than an hour to compose I considered it too much.

The steady pulse that goes with the beat is DX-7, which is set to play one note only, and which takes the trigger from any midi input that comes from the drum machine. I used this method often, and all kinds of fruitful melodies revealed themselves now and then.

Over the beat Polysix goes through an arpeggio, which is not synced to anything. The few note melody comes from a Casio keyboard, which I intuitively played while mixing the track. The hardest to mix was usually the drum machine, DR-660, because I had to mix its sounds individually in and out, and the interface is not very intuitive.

All the mixing was done while performing the tracks - there wasn't any automation or pre-recorded backgrounds.

This is the only take of the track. I usually had some plan in my mind how I would mix the sounds in but I never planned how to end the tracks. The latest element that is mixed in, the noisy choir, is something I grabbed from some passing TV-show of the moment.

Tracks 17 to 27 are from a single minidisc called Singularity of the Resonant Nothingness. It explores the binaural beats and brainwave excitation. I didn't have any fancy machines or didn't use any software to create binaural signals.

I wired my mixer into having multiple feedback loops, whose frequencies I intuitively manipulated by adjusting the equalization of the relevant channels. After a satisfactory pulse was achieved I panned the channels left and right.

The interference frequency was no longer acoustically apparent and the perception of the frequency happened in the brain. The names of the tracks come from a sensitive listening session.

Track 25 is called Viive. That's Delay in Finnish. The water like sounds in the beginning come from the toilet of my then flat. It was an irreversibly doomed toilet. The toilet was fixed a few times, and every time it returned to its usual routine.

First it was silent for some time, then thin little sounds appeared. The sounds gradually grew more intense until the toilet somehow internally flushed itself (there wasn't perceivable water flow), and so the cycle went on. I think the cycle took a couple of hours to complete.

The toilet was destroyed in march 2000.

Compilated from the sessions Relephant, Sovelmia and Singularity of The Resonant Nothingness.

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