Literature about sound theory and Noise

[octis]

Do someone knows something about this special area between those two ? I prefer PDFs , but any name for a book would be great .

[softmachine]

elsewhere on this forum somebody mentioned a book called 'Micro-Bionic' which sounds like a good read about the subject. I hope to buy a copy next pay day.

[Potier]

http://www.special-interests.net/forum/index.php?topic=1883.0

[RossMotus]

(sorry for my english) Go to the sampler direction. If you like the dark-ambient drone side of the music, expecially. If you like the noise side of it, experiment with distortion and looper pedals. I think it's not necessary any particular synth or magic box. Sometimes is just a matter of "marketing", always there are some gear that's more trendy for some time: there was the time of eurorack, the time of Teenage OP1, Lyra8, Elektron and more... Personally, I think there is not any synth that give you all tones you need, nor the better equipment to start. Industrial, (dark)ambient, drone, noise, power-electronics, are all type of music genres that they are all based to sound experimentation. Considering the most important monikers of these genres, very few of them plays with expensive walls of synthesizers... Lustmord declared he sold all of his hardware gears early and he found the best toolset to a Mac Pro... He compose and plays his music with a common Logic Pro, Altivec XL reverb and tons of samples of course. Merzbow make his noise with a large setup of cheaper pedals, a Mac and a strange selfmade string instrument as "detonator"... If you got a computer, start buying a good soundcard or (better) an analog mixer, the most possible better (for your budget) speakers, a digital recorder too and starts to experiment with them: synth, pedals, racks and more eventually they come to you without thinking so much... Just my modest opinion.

[Commander15]

(sorry for my english) Go to the sampler direction. If you like the dark-ambient drone side of the music, expecially. If you like the noise side of it, experiment with distortion and looper pedals. I think it's not necessary any particular synth or magic box. Sometimes is just a matter of "marketing", always there are some gear that's more trendy for some time: there was the time of eurorack, the time of Teenage OP1, Lyra8, Elektron and more... Personally, I think there is not any synth that give you all tones you need, nor the better equipment to start. Industrial, (dark)ambient, drone, noise, power-electronics, are all type of music genres that they are all based to sound experimentation. Considering the most important monikers of these genres, very few of them plays with expensive walls of synthesizers... Lustmord declared he sold all of his hardware gears early and he found the best toolset to a Mac Pro... He compose and plays his music with a common Logic Pro, Altivec XL reverb and tons of samples of course. Merzbow make his noise with a large setup of cheaper pedals, a Mac and a strange selfmade string instrument as "detonator"... If you got a computer, start buying a good soundcard or (better) an analog mixer, the most possible better (for your budget) speakers, a digital recorder too and starts to experiment with them: synth, pedals, racks and more eventually they come to you without thinking so much... Just my modest opinion.

I think OP was looking for book recommendations, not gear.

[JLIAT]

https://unipress.hud.ac.uk/plugins/books/5/

PDF


"One hundred years after Luigi Russolo's "The Art of Noises," this book exposes a cross-section of the current motivations, activities, thoughts, and reflections of composers, performers, and artists who work with noise in all of its many forms. The book's focus is the practice of noise and its relationship to music, and in particular the role of noise as musical material—as form, as sound, as notation or interface, as a medium for listening, as provocation, as data. Its contributors are first and foremost practitioners, which inevitably turns attention toward how and why noise is made and its potential role in listening and perceiving."

[Balor/SS1535]

https://unipress.hud.ac.uk/plugins/books/5/

PDF


"One hundred years after Luigi Russolo's "The Art of Noises," this book exposes a cross-section of the current motivations, activities, thoughts, and reflections of composers, performers, and artists who work with noise in all of its many forms. The book's focus is the practice of noise and its relationship to music, and in particular the role of noise as musical material—as form, as sound, as notation or interface, as a medium for listening, as provocation, as data. Its contributors are first and foremost practitioners, which inevitably turns attention toward how and why noise is made and its potential role in listening and perceiving."

You should toot your own horn a bit as well JLIAT!  Some of the documents/essays on noise from your website are quite fascinating.

[JLIAT]

https://unipress.hud.ac.uk/plugins/books/5/

PDF


"One hundred years after Luigi Russolo's "The Art of Noises," this book exposes a cross-section of the current motivations, activities, thoughts, and reflections of composers, performers, and artists who work with noise in all of its many forms. The book's focus is the practice of noise and its relationship to music, and in particular the role of noise as musical material—as form, as sound, as notation or interface, as a medium for listening, as provocation, as data. Its contributors are first and foremost practitioners, which inevitably turns attention toward how and why noise is made and its potential role in listening and perceiving."

You should toot your own horn a bit as well JLIAT!  Some of the documents/essays on noise from your website are quite fascinating.

Thanks - here-

http://www.jliat.com/txts/index.html

toot toot but!

https://unipress.hud.ac.uk/plugins/books/5/

A very interesting piece in this by James Whitehead!  :-)

[Volcano Queen]

Curtis Roads is well worth a read.