1999: West Coast1999: Europe1999: Middle America1999: East Coast2000: Found Sound2000: Akapella2000: Seventy-Five Seconds2000: Philter Phrenzy2000: Bluezette2000: Ambitative 12000: Ambitative 22000: Object/Videogame2002: Source2002: Product2001: Acoustic2001: Location Volume 12003: Percussion2004: Location Volume 22004: Where We're At2005: Film2005: Poem2006: Live2006: Great Speeches2007: Papermusic2007: MRI2007: Caligari2007: Teisha is now banned2008: Birds2008: Birds and Men2008: Acoustic II2008: Bugs2008: Zodiac2008: Nature2009: Generative2009: ReUse2009: Quartet2010: Reverb2010: Counterpoint2011: Harmonics2012: Domestic2012: One Minute2017: Where we're at 2017
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  Adam J Wimbush   a.k.a. Ascsoms , a.k.a. The Reverberater  

email ascsoms@yahoo.co.uk 
url http://www.myspace.com/ascsoms  
aboutLondon based Sonic Scientist

Field-recordings are used as source material, and then routed through the 'Sound Shadow' recording technique, the results are then re/deconstructed with any and all available electronic devices, and subjected to further manipulation. These then are subjected to further artistic treatments and mixed and mastered into compositions, these also are treated as source material and thus the loop begins again.  

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

1 Generative Under The Bridge
  (source track for the generative mix on CT-Generative)
2 Nature Tjaumn Bgolle
  This piece attempts to recreate my emotional experience of a forest in Thailand; this is the furthest from civilisation that I have been with recording equipment outside the UK. The raw recording could easily have been presented alone, so an untreated version runs through the track acting as I kind of 'floor' for other elements to grow and intertwine. So sonically translated are the awesome heat and humidity, the enveloping claustrophobia and isolation and the green foliage in its millions of shapes. As we trekked further into the undergrowth the unidentifiable animal noises ringing out all around us got more and more intense as they signalled intruder alert to the whole forest. Here you could really believe there was a magical force at work both beautiful and intimidating, I hope if you shut your eyes and listen to this track it could transport you to this place, enjoy.
comment Oct 15, 2008: raul bonell (www.myspace.com/theplayingorchestra)
  alert!. mastery on this track sighted.
may i ask to mr. wimbush to mix
my home projects in the future?
how did you managed to blend all those creatures
into a tiny stereo file?
another favourite.
3 Bugs Midnight Moves with the Moth Man
  Injured Moth
Captured Fly

My approach to the sounds was to interpret the life cycle of these insects
i.e. egg, caterpillars, maggots, pupae, chrysalis, moth, fly
metamorphosis was interpreted by editing and effects etc… hatching into a moth/fly the resulting sound files

the text below describes rudimentarily the path each insect (sound) travelled

Input-Moth&Fly>StereoMic>Minidisk>Sound Studio2.0.7>
Live 6.0.3 OS X(demo)>Portastudio414mkII>Sound Studio2.0.7>Forester v1.2>Portastudio414mkII> Sound Studio2.0.7>Mixing>Cut & Paste Editing>>Output
4 Acoustic II Craction Follision
  de/re-contruction of samples from Clarinet played by Victoria Kerby; 'Baoding Balls' and 'Jews Harp' processing and live 'dropped assorted metal' loops by Adam J Wimbush aka Ascsoms
5 Birds and Men Aves Pt.4 (Phleyeing remake)
  >>Birds > L/R-Mic > MD >> Imagination > Live6 > FeltTipSS2.0.7 >> Audacity > MD >< 414mkII >> Live6 > 414mkII > FeltTipSS2.0.7 >>
Signal manipulation and sound assemblages by A.J.Wimbush (bird names taken form The Hamlyn All-Colour Animal Encyclopaedia 1981)
6 Teisha is now banned Teisha's Magic Atom
  In creating this piece I approached the concept of spam at a personal level. Every now and then I empty my hard-drive of folders containing sound experiments but nothing as extreme as actually deleting them completely, they make it to a CDR archive, were they remain in a digital deep freeze.By imagining these unused sound files as a kind of sonic spam, I’ve chosen files with specific atmospheres, which have been re-recorded in FFWD because when I was skipping through the tracks I thought this process resembled the way I navigate my inbox. So the results were deconstructed and rebuilt, mixing and looping the separate sounds to frame the lyrics, originally from spam mail ‘Subject’ lines that inevitably got elaborated and embellished upon.
7 MRI Par le descendeur d'esprit
  MP3 players, Tascam mixer, EFX Units, "closed loop" monitoring/recording with Mac
comment Jun 28, 2007: norelpref (http://www.heavyconfetti.com)
  The end of 2001: A Space Odyssey meets one of the Tibetan Bardos. Like Krispen's piece, I like the use of air and very subtle drone effects.
8 Papermusic Paper Dub
  All sounds sourced from one recording session with Elizabeth & Vicky Silvester , they helped make noises using paper, cardboard, magazines and books. Then I've worked on said recording until I felt comfortable enough to release it into the open world!
9 Poem Noone
  I follow'd the froth on the yellow potatoe tree
Obssesion erupting in visions
A logical canyon seemed to invelope
On the alien weather bubble surface
Very careful labia, lavish spine spread
Before discovering this book
Dappled being spoken snatch tomb
Chemistry stormed the pitch in afterlife
The kings disorientated butler teared
Proton cardi in woven fast blue
The cat thought too hard paw at brow
Heat continued with no sound
I exchanged air
Only two books and she woke
Seeing conditions terrifying
Salt from the heavenly tear drop
Spoon gasping front face mosaic burner
Woven ambitions white in release
Address the gold corners of seduction

Basically the piece folds and loops the sounds of arabic words split into syllables back onto themselves to create nonexisting words, narratives and new interpretations of the
existing poem, these have produced moments which on playback have trancended language and touch me emotionally. These choice moments created the basis of the track, i intentionally cut myself off from the original poem, allowing myself to 'feel' the presence, or shadow of the original concept behind the
writing. Hence we have a translated translated translation, so rather than reading we are hearing, so stimulated in a rather different way, there is no conclusion just moving music, language as a tool for understanding has been altered, let the sounds describe what the words cant, calligraphy of sounds, a sonic-scribe, the sound of hundreds of words uttered simultaneously but understood, open your ears to the voice flood.

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