“Abstract. In this article, we describe twopm, a command for fitting two-part models for mixed discrete-continuous outcomes”,
although lifted from an article describing a command line the description struck a chord with me regarding the knitting together of our two parts in this work. The tracks are mixed by whoever played the second part, myself doing the final edit, layout and artwork. Thanks for your support. John Daly.
tighmacalla.wordpress.com
credits
released November 16, 2015
John Daly.
Guitars are a primary source for the sound in the compositions I make, which also involve collaborations with other composers and sound artists. As well as conventional guitar technique I use prepared guitar interventions, tunings and percussive elements. The signal path has effects, delays, glitch, looping, which then feed into a computer for further treatments. Improvisation and prerecorded work is supplemented in real time with field recordings e.g. from nature, household and street environments. I am interested in creating immersive soundscapes that stimulate a diverse response to music and sound, improvised and experimental composition. I have performed my work at various sound art events in Ireland and have a strong presence on a number of web platforms and net labels.
Wilhelm Matthies.
I likewise constantly work on the sound source itself as John does, but primarily acoustically and not with electronics at this time.
In my case, I work on developing an acoustic instrument called the mosesa. It is an acoustic instrument that is set up to allow for the full string spectrum to be plucked and bowed. I have developed 2 and 4 string versions, in the violin, cello and bass ranges.
I constantly try to explore a range of sound qualities that often shift within a bow stroke, from pure tones to multi phonics, from soft to loud, to raspy and sweet sounding. In solo contexts I often use graphic compositions in cyclical variation settings, but also free improvisations which are more open ended. Basically I try to express my responses to passing sound phenomena, to make them present, but also to reflect prior moments, ie. being present and presently remembering.
For this album, my playing is meant to mostly push back into the sound middle and background with John’s work foregrounding. In some pieces I initiated the first layers, in some John did, and I believe they are well intertwined to the point where you cannot tell who played first. We made this via internet collaborations, he in Ireland, myself in Wisconsin, USA.
I have released work on SoundCloud, with this net label and several others too, mostly in collaborative settings but some solo work too.