Ambient Downloads
This ambient section and the cylinder archive will be gradually updated with much more music to come
Creation of this music is through a process of what we call "Simulative Imagination," or simulating the imaginary, a synthetic formation of
experiential, perceptual and imaginary states for emotional evocation which incorporates these 5 categories:
Defining Characteristics of the Music:
1. Artificial Aural Imagination:
Also named synthetic or machine imagination, this is defined as the artificial simulation of human imagination through sound using special
purpose machinery, computer programs and artificial neural networks.
2. Binaural:
Refers to the normal way we perceive sound. "Bi" meaning both or 2 and "aural" referring to the sense of hearing. Soundwaves reach the ear
at different time intervals and volume levels and this auditory information is then processed in the brain's auditory cortex (part of the
temporal lobe). "Binaural recordings" is a method of recording sound that uses 2 microphones to create the sensation of being in the room or
environmental space where the music is present. The technology goes back to 1881 with the théâtrophone (theatre phone), invented by
Clément Ader consisting of carbon telephone microphones that were installed along the the Opera Garnier. "Binaural recordings" are used
to create a sense of 3D spatial realism and distance that is optimised for headphones.
3. Ambient Music:
Relates to our sonic surroundings, emphasising tonality, atmosphere, melodic repetition and most importantly unobtrusiveness from layers
of aural textures. There is also an association to the ambience of environmental field recordings. "Ambient music" can help to bring about a
sense of reflection and meditative awareness or elicit past memories and emotional connectivity.
4. Generative Music:
Is a term defined by Brian Eno to describe a type of music that is different, ever-changing, and systemic (created by a system). The system
can refer to a set of things, principles or instructions working together as parts of a mechanism or an interconnecting network to form a
unifying whole. Generative music is also 1 of 2 main sub fields in the area of 'Music Machine and Deep Learning,' with the other being 'Music Information Retrieval' (MIR) an interdisciplinary science of informational retrieving to categorise, direct or construct music.
5. Acoustic Ecology
Also known as ecoacoustics, this is a discipline that studies the relationship between human beings and their external environment with sound
being it's intermediary. Acoustic Ecology was founded by the composer R Murray Schafer and his team at Simon Fraser University in
Vancouver Canada as part of the World Soundscape Project.
Hearing and technological innovation in the audio space
There are many terms, buzzwords and claims when it comes to discussing new audio technology and sound, some of which may be rooted in
scientific research whilst others may be based on opinions and speculation, this can also follow popular trends where disagreements about
what is better sounding can easily ensue often with a strong critique about the other side of the argument. Despite these debates many of the
most memorable recordings in the past have been made with very modest technology, operating on basic principles of physics, earlier recording
equipment is still used to this day, fit for purpose and having stood the test of time.
It is also interesting to consider one's own auditory system and hearing range, under the right conditions human hearing can go as low as 12Hz
and as high as 28kHz. Though most commonly ranges from 20Hz to 20kHz. During our lifetime our sense of hearing naturally declines, usually
starting at the age of around 8 onwards. Lifestyles can also contribute to hearing loss especially in environments where the noise level is higher.
We all experience listening to an array of different sounds on a daily basis as we interact in our world and our brains constantly filter out what is necessary, this also extends to how much we may recollect and comprehend the sounds we hear. So the way one may process sound can
vary greatly from person to person, highlighting the subjective nature of audio and our own biological limitations as human beings to audibly
distinguish certain sounds as it's interpreted in the brain.
A question can be posed, are the presumed innovative audio technologies marketed to a wide user base really as groundbreaking as they make
out, and hold true? especially in the areas of immersive sound and spatial audio which is heavily commercialised now, (a kind of one size fits all approach). Even in the field of surround sound, 4 track quadraphonic recordings have been around since the 1960s, pioneered by engineers
such as Thomas Mowrey, with multichannel experiments being made as far back as the 30s. Though there are some merits, as far as the
technology goes today, it can only extend within the parameters of our own biological physiology, with our auditory senses being no exception,
and consideration should also be given to the various differences in our hearing faculties as well as the shape and size of our ears and head,
which for each person will determine how long the sound will will travel through the ear canal and vibrate the eardrum.
So perhaps finding ways of individually customising accurate audio measurements tailored to each person's unique ears may be a good starting
point in advancement, which is where past techniques such as century old binaural recording practices, later evolving into products such as the Realiser' by Smyth Research have addressed this dilemma. Smyth Research have also been able to go a step further by using binaural emulation software to work in unison with hardware through Head Related Transfer Functions (HRTF), a set of mathematical instructions characterising how
an ear source receives a sound from a point in virtual space allowing correct spatial positioning.
There is also the restrictive factors of the recording source and the methods by which the original recording was done, hence there is so much
to be gained from observing the practices of early phonograph pioneers whom even with constraints found a way to capture sound convincingly.
Edison's first listeners had reportedly fainted at the sound of their own voices having heard themselves on wax cylinder for the very first time,
emphasising how real the experience must of felt to them. With this in mind there are also clear physical limitations in the process of capturing
audio to consider. We've been mindful of all the aforementioned conundrums in the creation of our music, which will affect the listener. Perhaps
more attention could be on how we individually experience the sounds around us, developing an understanding of our own physiology, and taking
the time to test out and find what works. We also hope you can approach the music in a similar fashion, and take the time to find what resonates
with you.
In pursuit of technology or 'The Emperor's New Clothes?'
There is quite a trend to pursue the latest technology and abandon the old. However much of the technology today has origins in past innovations having existed already in different forms, technology can be viewed as the acquiring of knowledge that leads to the invention and application of
tools which may enhance aspects of our day to day lives. Technological advancement therefore may be thought of as a rediscovery of that which
has come before and a modification of past ideas creating functional implements adjusted to our times. Yet even in the field of audio there is often
a constant push towards using the most recent technologies advertised as a necessity without questioning why, in reality this may not be any more beneficial than the preceding technology it replaced, does one really need to constantly upgrade? it may be more useful to allow oneself to pause
and being content with what one has.
Access to all
Several of the computers that we use to program the music are recycled custom built machines from discarded decommissioned servers, all our hardware equipment and software is easily available, and it is possible with patience to assemble your own phonograph or PC from parts sourced online which can be a rewarding experience. Contact us if you'd like any guidance with DIY computer builds or would like to know more about the equipment, a link about the studio is located on the Angakut Recordings site here.
We also believe in using open source software giving the user the right to study, change and share the programming source code, some of the software tools used for our music include:
(Open Source)
(Non Open Source)
So take a break, disconnect from all this technology and when you're ready to continue on this site, reconnect, and let the music accompany you on your journey.
Best listened to with headphones:
Files
A Temple at the Top of an Off World Colony (2022)
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Bird Cherry Ermine Caterpillar Night Version (2022)
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With a field recording done at Johor Baru, Malaysia 23-9-2005
Bird Cherry Ermine Caterpillar Day Version (2022)
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Inspired by the ecology of the Bird Cherry Ermine Caterpillars from the Prince of Wales Primary School
meditation garden.
Bird Cherry Ermine Caterpillar Extended Version (2022)
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The original first version of the track.
Channelling F: The Antiwar Movement (Tribute to Jerry Lawson) (2022)
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In light of the the current situation dedicated to all the people affected by war and in memory of the inventor and
video games pioneer Gerald "Jerry" Lawson.
"Ukrainecharity.org 2022 War Crisis Appeal"
"The Voices of Children Foundation"
"Love Russia Charity - Restoring Lives Broken by Trauma"
"Gerald A Lawson Endowment Fund for Black and Indigenous Students"
Daybreak (2022)
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Field nature recording done at Salisbury Road Enfield Lock 6-5-22 North London. Prince of Wales Primary.
Daybreak (The Background Field Recording) (2022)
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The original field nature recording clip done at Salisbury Road Enfield Lock 6-5-22 North London, Prince of
Wales Primary using a Blackberry Keynote phone.
Embers and Ash (2022)
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Variation 1: Embers
Embers and Ash (2022)
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Variation 2: Ash
Encode (2022)
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Path Revisit.
Escalator (2022)
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The original version
Escalator Field Recording (2022)
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Recorded from a journey on the escalator at St George's Shopping Centre, Harrow, 25-5-22, using
Roland CS-10EM binaural microphones.
Finding the Right Signal (2022)
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A retro space station soundscape used as an intermission break on the 'Crystal Radio Receiver Broadcast.'
Integrating Hainbach's 'Noises' software, check out his Youtube page here.
Juxtapose Side A (2022)
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Music for a field recording at Shakespeare Avenue, Stonebridge, Harlesden, North West London, 28-4-22.
Juxtapose Side B (2022)
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Music for a field recording at Shakespeare Avenue, Stonebridge, Harlesden, North West London, 28-4-22.
Juxtapose Side C (2022)
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The original field recording done at Stonebridge Avenue, Harlesden, North West London by the Footbridge
with a Blackberry Keynote phone's internal mic (mono) 28-4-22.
London Sound Survey Project: Everyday Life in London.
Lady of the Lake (Original) (2022)
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For the field recording "Water Lapping Against Shore," Side-Wood, Ennerdale Water, Cumbria, England.
Water background recording copyrighted to Alan Burbridge 2010.05.15.
For personal non-commercial use only.
Lady of the Lake (No Background Sound) (2022)
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Royalty Free, can be used for commercial purposes.
Lip Sync (2022)
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Liberation Theory: An Afrofuturist Axis (2022)
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Produced alongside my audio work on the 2021 Black History Documentary: Vodou Theology of Liberation.
Malaysia Penang Rainforest Night Field Recording (2005)
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Nighttime Field Recording in Penang 10-9-2005
Neonoscopic (2022)
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Orbital Mediation (2022)
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Music for the Planet Mercury, (Hour Star).
Propulsion (2022)
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Sigui: Sirius A (2022)
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A futuristic electronic soundscape for Sirius "Stella Splendida," the star of Sigui and dedicated to the traditional
Mali Dogon Sigui ceremonies.
Sigui: Sirius B (Tolo) (2022)
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Another variation of the soundscape based on the white dwarf star and companion to Sirius A.
New 11-6-22 - Rapid Transitions (2002)
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Includes several field recordings from the London Underground using a custom binaural mic setup.
Some of the music on this page will also be made available for free on Indiegame.com
Further reading and related links:
*Afrofuturism the World of Black Sci-Fi and Fantasy Culture by YTasha L Womack (2013)
*A Year with Swollen Appendices by Brian Eno (1996)
*Ecoacoustics: The Ecological Role of Sounds by Almo Farina and Stuart H Gage (2017)
*Experimental Music: Cage and Beyond by Michael Nyman (1974)
*How to Build a Mind - Towards Machines with Imagination by Igor Aleksander (2001) pdf
*Methods in Ecoacoustics: The Acoustic Complexity Indices by Almo Farina and Peng Li (2002)
*Ocean of Sound: Aether Talk, Ambient Sound and Imaginary Worlds by David Toop (2001)
Brian Eno's Official Website:
An example of augmentation techniques and minimalism by Steve Reich
Listen through Youtube here
