# phlm 2005
old experiments for learning about subtractive sound synthesis made over two years starting in 2003 when i was working in the archives of a hospital.

each of the loops and songs should offer something the others do not. even today, i still find the rawness of the sounds unusual. the tracks feature a relatively wide dynamic range, some more complex rhythms, hidden details, and usually synthesized instruments created from scratch.

over the years, i noticed that it is distinctly hard to listen to multiple in a row. that is in one part, surely, because of how lowly refined the compositions, sounds, and especially (if it can even be called that) melodies are - but in another smaller part, it is supposed to be challenging.

one idea behind it goes like this: what if we distribute rhythms and melodies across multiple instruments, and some of them play louder or softer in unexpected ways?
a rhythmic or melodic thread could hide within the noise or fade in and out of existence - not because it is not there, but merely because it goes unnoticed depending on the listeners current perceptual state.

released under a [cc-nc-sa](http://creativecommons.org/licenses/by-nc-sa/4.0/) license. anyone is free to copy, create derivatives/remixes, and use samples without asking for permission, as long as it is for non-commercial use.

# highlights

    %scm sph-info-audio-playlist "auditive_visual/more/phlm/highlights/*flac"

# artwork
![](phlm/images/5-unacc.png)

# notes
## first album
the first three tracks are a concept on creative process
* conception: "session"
* work: "build up"
* and "use"

it is different from the following albums in the structure of tracks and that it uses pre-recorded bits of sound primarily.
i would recommend to listen from start to end, as i think it can be rewarding, and it is only 1.3 kiloseconds long

* build up: all sounds synthesized. notes are incomplete and are gradually increasing in length and distinction, hitting hammers and metallic clattering

## second and third
* extension and the extended: here tempo is constantly stretching and condensing. the hi-frequency noise has different envelope-release times per note. the melodic instrument has gating applied to cut the sound off at various lengths in various intervals. the background synthesizer has quite its own liveliness
* get me phoenix: rhythmical hat modulation
* mood 2: dissonant part at the end
* spieluhr: culture critical track. all sounds synthesized

## fourth
* 5f3: switching filter types. only synthesized sounds
* kalo: no guitar involved. only synthesized sounds

## fifth
tracks that had not been included in other albums

* whitesea: low-key and subtle. experimented with a strongly pitch changing sound. supposed to sound like ocean and misty distances. regrettable pitch-modulated sound. only synthesized sounds
* atekkbase: switching between oscillator wave patterns
* silverglanc: slowly progressing layering with switching sound routes between different effect channels
* tdt: a prototype
* teufelsbluhend: had to press and keep holding a lot of keys at once in this one
* kalo hyellow: sounded "yellower" than the version on "4 prosper"
* himmelmörder: a green meadow on a warm and bright summer day
* flier: i always liked the intro of this one, though it never got completed
* 0range beat: made a significant editing mistake here and lost the source
* fun3000: this is what it can sound like to use a different synthesizer
* halco: slow with deep bass sounds. all sounds synthetic
* non-specific acoustic stimulation: quite non-specific

# full albums

    %scm sph-info-audio-playlist "auditive_visual/more/phlm/albums/*flac"

* 5-unacc | 57 tracks (2 hours 35 minutes) 1G | (copy [part-1](http://sph.mn/files/u/phlm/phlm.2005.5-unacc.hq.7z.001) [part-2](http://sph.mn/files/u/phlm/phlm.2005.5-unacc.hq.7z.002) [part-3](http://sph.mn/files/u/phlm/phlm.2005.5-unacc.hq.7z.003) [part-4](http://sph.mn/files/u/phlm/phlm.2005.5-unacc.hq.7z.004) [part-5](http://sph.mn/files/u/phlm/phlm.2005.5-unacc.hq.7z.005))

[all files](http://sph.mn/files/u/phlm/)