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  Rob Switzer    
email rswitzer@721.com 
aboutRobert Switzer is a digital artist and improvising musician from Mifflintown, PA, US  

Rob Switzer coordinated these CT projects:
Caligari

The copyright to each song belongs to the respective artist.
Right-click track name and then click "save as" to download a track

stream all tracks stream all tracks
  (ct) album stream / download mp3 min
1 Acoustic II
stream track An exponent of Breath
A multitracked soprano saxophone collage recorded over a 7 day period. Different effects were achieved by circular breathing and blowing through the horn in different ways, with and without a mouthpiece and reed effects were also achieved by moving the horn around, varying the distance from the microphones in real time. The final mix was sweetened with a touch of reverb. No other digital/electronic effects were used. Recording was done in 96k stereo in Rezound using a Linux laptop with an Echo Indigo sound card. Mics were a pair of cheap omni-directional condensors from Musician's Friend. Horn was a Selmer Super Action 80 Series II with Vandoren mounthpiece, ligature, and reeds.
2:38 
   
comment 12.03.2008: Michael Peters (www.michaelpeters.de)
  love that squeaky loop, like a rusty machine
2 Caligari
stream track Soundtrack 1, Act 6
If Caligari was a short story, Act VI would be the plot twist, the place where expectations are dashed, and the whole story is redefined.

Through the first part of the act, I worked to build a feeling of vague dread and unease with a looped sting pad, angular bassline, asymmetric rhythms, skronking woodwinds, edgy slide-wah guitar, and the atonal Caligari piano theme.

When the action finally returns to the garden wall outside the asylum and all is revealed, I wanted to up the feelings of dread and unease to disassociation, paranoia, horror, and fear.

To do this, I used a bed of high-pitched electronic sound, underlaid with gently ascending loop-drones of guitar feedback and overblown bass clarinet harmonics. I added a creepy, wibbling, psycho-blues alto sax solo played in the key of metaphysical distress to up the discomfort factor even further.

At the very end, I reiterate the atonal Caligari piano theme, to underscore the irony of the reversal of fortunes experienced by Caligari and Francis.

To get the feel I wanted, I decided to go with a mixture of acoustic, electric, and electronic instruments, and take the style of music outside of the period of the film to include contemporary free and electronic musics.

Alto and soprano saxes, bass clarinet, laptop and electric guitar parts were cut from previously recorded solo improvisations of my own, and collaged into final form using Rezound and Ardour with xJadeo, open source audio editors + video channel running on Linux.

Piano, electric bass, and drum parts were created from algorithmically generated MIDI data voiced using general MIDI and GigaPiano sample sets.
9:53 
3 Film
stream track Study One
Soundtrack for an excerpt from a video work in progress
that pays tribute to abstract experimental films
and visual music by the Whitney Brothers, Harry Smith, Len Lye, Oscar Fischinger,
as well as video pioneer Nam June Paik and others.

Download the complete video here:
http://www.archive.org/details/Study_One

Get the Xvid codec (required) here:
http://www.xvidmovies.com/codec
06:00 
   
comment 28.12.2005: Michael Peters (www.michaelpeters.de)
  (you need DivX to see the movie ... www.divx.com)

Stunning work Rob. I love the texture of the sound and the way it develops. I also love the movie ... maybe Study Two will feature music+visuals in sync? that would be even cooler ...
I have a vague idea of how to work with Pure Data but I wouldn't know how to generate visuals like that ... really fascinating stuff. Keep us updated on more work in this vein will you?
   
comment 27.12.2005: Krispen Hartung (http://www.krispenhartung.com)
  Darn....I downloaded the monster 146MB avi file, but it produces a codec error - I don't have the required codec to view it. This is odd for an avi file. I've never had a problem viewing avi files on my computer, and I do a lot of video editing and viewing. Too bad.

I really enjoyed the music, especially the deep, resonating tone that starts in the intro and continues in the background. Interesting...on Jan. 1, 2006, I will release a new CD, "Xperimentus," of me playing duos with 13 other musicians from Looper's Delight. When you get that, check out the song "An Evening with the Greys" with me and Mark Francombe. Actually, I'll give you a sneak preview here:

http://box.net/public/khartung/files/1681697.html

Compare the deep tone in the background (me using my guitar and the Boss VF1), and Mark doing the crazy stuff over the top.

Cool! :)
   
comment 29.12.2005: Ivan Kapec (http://www.triangulizona.com)
  Nice work. It cleans the mind. Very dry and simple texture. Like some kind of the vibrating rather than a music. But, there is need to cross the borders. Impressive noise!
4 Where We're At
stream track The Importance of Being Ernest
This piece was a distance collaboration with Patrick Smith. Patrick and I exchanged some solo improvisations via post. Patrick worked with an augmented electric guitar. I worked with alto sax, bass clarinet, Native Instruments Reaktor, and a circuit of lo-fi electronics -- circuit-bent stomp boxes and a Kaos Pad. Then, through a collaborative process, we turned the completed pieces of music we exchanged into a new, jointly composed piece of music.
04:43 
   
comment 16.10.2004: Krispen Hartung (http://www.krispenhartung.com)
  I love the sax!! Rick, is that you playing the dig?
5 Location Volume 2
stream track What Happens While We're Away
Harrisburg, Pennsylvania, USA
Date was 4th of July
weekend, 1997 or '98 -- I forget which. I suspended a microphone from the attic window of the house in the
foreground and recorded the sounds of the intersection -- I also did some time-lapse video of the same intersection
from another window, but sadly, I've managed to lose the tape . . . It was created by layering and timecompressing
over 8 hours of raw recordings down to the length of the finished track. It is designed to be
barely audible and to blend seamlessly with the ambient sound wherever it is being played to heighten the
listener's awareness of the sonic environment they find themselves in.
04:00 
6 Acoustic
stream track Freon Frank
Solo alto sax. I played a Selmer Series II alto sax with a Meyer 5M mouthpiece and LaVoz Medium hard reed direct to DAT via an SM-57, then transferred it to the computer and post-processed with TC Electronics reverb.
03:43 
   
comment 19.10.2004: Krispen Hartung (http://www.krispenhartung.com)
  Outstanding!! It's nice to hear someone take a risk and play a woodwind instrument solo, and perform experimentally to boot. This song is like a musical soliloquy...as it progresses it has an interesting human element to it, a lot of presence, dynamics, and depth. Choice of reverb is great too.
7 Product
stream track It May Be Musical
Dance music parody. Listen to the wheels come off.
05:15 
8 Source
stream track singing, pump sound, and flute
00:30 
9 Source
stream track electronic noise and muted sax
00:20 
10 Source
stream track speech loops
00:30 
11 Source
stream track drones and sounds
00:45 
12 Source
stream track guitar riff; electronic noise, rain stick
00:58 
13 Source
stream track rain stick, philosophy, electronic sounds, drum cuts
00:58 
14 Ambitative 2
stream track Eros Dioptra (CT Mix)
Eros Dioptra is a MIDI process improvisation recorded live, in real time.
05:22 
15 Seventy-Five Seconds
stream track Lose Balance
00:43 
16 Seventy-Five Seconds
stream track Wireless
00:38 
17 Akapella
stream track Deep Throat
05:39 
18 Found Sound
stream track Making the Meat It Feeds On
08:13 
19 Middle America
stream track Remove the Block from the Spirit of Lust
10:17 

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