m a x w a i n w r i g h t . c o m

c o m p o s e r &/ p e r f o r m e r


Welcome, visitor! This is my website. It is under construction.
To navigate, find something interesting in the navigation and click the date. If you get lost click up or use the home key. The dates are in DDMMYY format.
I made this site using Seamonkey and TextWrangler. I took a CSS theme from Amaya but basically just the framework is left.
---> Click this link to find contact info and and other online stuff of mine.

New website AGAIN: 160414
Playing at STHLM drone society thing in R1/Stockholm 240414
Some updates (RNM online portfolio, upcoming Dirty Electronics/Mute cd) 160614
Automatic composition 291014
Rolson video and Mute synth release 061114

160414 – New website AGAIN

I finally got around to creating my own website. (again) This one actually has some structure to it and isn't too complicated for me to bother with it so hopefully it will last for some time.

It doesn't have ads or scripts or tracking or a hosted by NSA™ search engine etc. Mostly text, perhaps some pics and video links. As it's just one page with page jumps instead of real links and categories I'll have to keep the bandwidth- and cpu-intensive stuff out of this. This has the added benefit of not interspersing the text with distracting pictures and videos and stuff.

This is web 0.0. No jobs were created during the making of this website.



Contact info &c

Some ways of contacting me:
* you can send me email using the first letter of my first name, @ this very domain; maxwainwright.com. This is my favourite kind of electronic communication.
* you can send me tweets &c on twitter where I go by the name @mainwright.

Where I keep stuff online:
* www.soundcloud.com/maxwainwright, my main soundcloud account.
* dronenwright and dronewright2 are two drone-accounts.
* ISO668 is the name of a project about algorithmic/chaotic "dance" "music". You can buy files at bandcamp too.
* my vimeo account, www.vimeo.com/maxwainwright for videos of stuff, mostly gigs and tests.
* my flickr account is called mainwright which isn't reflected in the link for some reason.



playing at STHLM drone society thing in R1/Stockholm

This Saturday I am going to Stockholm to perform in the old reactor fifties experimental reactor chamber (R1). R1 is a cool place and lots of old friends will play drone music. It's also a free event so you should definitely go there if you happen to live in Stockholm. It will be recorded, anyway, and I'll try to take some fancy pics of junk&stuff for your pleasure.

Here is a link to the event (in Swedish): http://sthlmdrone.com/upcoming-events/2014/04/26/R1/

Personal news: I have moved. Still in GBG.




This place has been slow. There hasn't been so much going on, I haven't played live since last time. The recording of the performance is here: https://soundcloud.com/dronewright2/r1. I think it was fairly successful.

In other new, I've just been added to an online portfolio showing musicians &c active in the west of Sweden (around the Gothenburg area), hosted by Resurs Ny Musik in Gothenburg. Being invited was a pleasant surprise and it feels good to "officially" be a Gothenburger, in some sense. The portfolio is here: http://rnm.nu/onlineportfolio. Check it out, it's full of famous people.

There is also an upcoming compilation CD coming out, a collaboration between Mute records and John Richards/Dirty Electronics, where I will have a track called "Studies for machine stupidity". The CD will accompany the Mute Synth II, and all the tracks are made on it (and other stuff). Or so I'm told ;-) I don't know much more right now. Updates will follow.

There are no other updates.



Automatic composition

So, I like automatic composition, the kind where you don't "plan the music" or arrange things in time, but rather set up a system (while listening in, usually) and then just let it run, while recording the output. Risto Holopainen has written a manifesto for automatic composition, sort of a dogme 95-style ruleset to abide by, (or at least that's how I feel about some of the things – and agree). Here is a link to the Manifesto: Manifesto!

One such "rule" (or, I guess, suggestion) is the following: "[...]try to make a deterministic autonomous system in which there is no source of modulation (such as LFOs or sequencers) that is not itself modulated by other sources. In consequence, the patch has to be a feedback system.". I rather dislike LFOs even when they are modulated by other things, anyway. But still. No module/device should be the "beginning" of the system, it should all go into itself again and again. The rest is about not interfering whith the system while recording, and some suggested criteria for evaluating the patches. He also mentions mixing of the tracks, and I generally do some pseudomastering™ to the patches even if it's "against the rules". Well.

So anyway, I made a recording yesterday and thought about writing about it and automatic composition in general. Here is the recording: https://soundcloud.com/uralstring/141028_1812a
It's part of my latest soundcloud page, called uralstring, which is a Swedish word unrelated to strings and the Urals.

The patch is made on my small Bugbrand Modular, which rarely gets any use, but I was (am) home ill and thought I shuould fire it up. I generally like more of a challange and things to be (literally) falling apart now and then. The Bugbrand however is a high quality device, precise and durable etc. But I think I managed to confuse things for myself with the tools at hand. I also generally kind of prefer patching digital (Nord) modulars, where you just choose which modules you want to use rather than having a fixed set in front of you. I am easily distracted by unused modules. With the Nord, I just pop in the modules I want to use and ignore the others. The nord is even more precise of course!

So anyway the patch sort of revolves around a sequencer module, clocked and directed by two oscillators, which modulate each other and are synced by the sequencer every other of some steps, I think. One oscilator also controls the range of the values in the sequencer. After that it's a mess. I didn't promise a diagram! In the recording I turn the modular off on fixed times, which leads to a chance element as the delay module sometimes doesn't start up (it ended up not starting in the first one, and then running in the second two). Before the last one I turned some knobs all the way up, so perhaps thats another rule I broke (it was turned off, though...).

It's a bit rougher than the other recording I have on uralstring, but that track was extra clean for some reason (made in the Nord G2 engine).

The name uralstring means spontatenous generation, an old theory about where insects, maggots and stuff came from – just from dirt basically. A latin name for it is generatio æquivoca. I thought it was fitting, and no one else had taken it.

I have another automatic or generative project, which is call ISO 668, after the standard shipping container standard. So far I've made that music in the iphone app Bitwiz, by Jonatan Liljedahl, which allows one to create recursive equations using (among other things) bitwise operators (such as AND, OR and >> (shift right) – these are made per bit) which then run really fast, and the resulting output is wrapped to 8 bits and sent to the output as audio. There are many other similar softwares, many run online, which I've enjoyed greatly, but none of them allow you to modulate the sample rate (how fast the equations run)and leave the sort-of-chip-tunes sound world behind. I use rate (or "r") modulation in most of the ... equations I create. It's vital for kicks, for instance!

al gabr album cover

The tracks under this name are all automatic recordings with no interference. I've mixed/pseudomastered the recordings a bit though. Some parameters in the mix are also automatic – driven by the amplitude of the sound, but I guess it's not properly automatic.

Here's the code behind one of my favourite tracks, dance music, from the album al gabr:


Note the r=(u-j^... bit where the rate is modulated. As you can see, all the variables (u, j, v, k, r) have other variables as part of them. I don't know the proper terms but you can see how k=5|u*-4; leads to k being 5 OR u times minus 4. The variable t is the rate of a counter, which counts from 0 to (i believe) 16,777,215 over and over again. It's sort of the driving force between most of these little equations. In this one I don't modulate the rate of it, but with r modulation the rate still changes in the output sound.

Anyway, if you're interested in the code all the tracks on al gabr have the code posted on bandcamp.

Here is the full album al gabr: https://iso668.bandcamp.com/album/al-gabr
Here are some apps by Jonatan Liljedahl, on his website: http://kymatica.com/Software/Software
Here is an online bitwise thing: http://wurstcaptures.untergrund.net/music/
Bugbrand modular: www.bugbrand.co.uk/ ...

My track on Ye Upcoming Mute Release with Dirty Electronics is also an automatic composition, three different "patches" on, let's call it a modified prototype, to the Mute Synth II juxtaposed but not edited. I look forward to the release, and to modding the actual Synth. Perhaps I'll put something up about that.

So. I believe I will return to this subject in the future.




Two short notices:

1. I've been building things in the last week, and put up a video of one here: https://vimeo.com/111008932 . It's an old unused wire stripper repurposed with stripboard-+/--poles instead of the old "gums", where you can slot in a piezo disc and chew away. Or bend/cut the piezo etc, which was why I made it initially.
I'm making/planning a lot of stuff right now so I might put up a subdomain about tools&things for documentation &c.

2. The Mute Synth II by my dear friend John Richards has been released (and sold out). As I said before I'm on the accompanying CD and the track is called Studies for Machine Stupidity. Like I said in the last post it's automatic. Here's a video of the synth sort of, with music of me and John in it. https://www.youtube.com/watch?v=OznOt3w0Sn0.

This concludes the message.