Federico Barabino - No-Input Mixer (TecnoNucleo, 2010)

01 Toshi
02 Loop
03 Two Signal
04 Scale

Desde hace unos años que los sonidos electrónicos que cotidianamente nos rodean captaron mi atención intensamente. Su universo infinito de texturas sonoras internas cambiantes me inspiraron horas de investigación y exploración para mis composiciones y presentaciones en vivo.

Partiendo del "error" de la consola misma, conectando cables de entrada donde irían los de salida y sin agregar ningún instrumento externo, sino usando el propio circuito interno para generar los llamados "ruidos", trabajo en tiempo real de manera analógica. En la llamada era digital no es casual que utilice aparatos analógicos, sino que es el punto de partida hacia mi investigación de herramientas que van perdiendo fuerza en el mercado y uso profesional. Trabajando como si fuera un artesano sonoro, generando diferentes sonidos, modificando sus texturas por medio de ecualizaciones, trabajando de manera contrapuntistica por la sumatoria de varios canales, construyo el discurso y la forma musical.

El control minucioso del material sonoro y de los movimientos mecánicos del instrumento es parte fundamente de mi forma de trabajo, ya que el comportamiento de la consola es caótico y casi aleatorio, exigiendo un interprete atento a los cambios mínimos, evitando todos los movimientos bruscos posibles.
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Irisono - 2003-2005 (TecnoNucleo, 2010)

01 Yooco
02 AliBaba
03 Odinacusis
04 Odaxelagnia
05 Yooco bis

Javier Iriso IRISONO was born in León (Spain) and comes from a family with a strong musical tradition. He studied music in the Salamanca and León Conservatories, where he acquired degrees as a piano teacher and as a superior-level teacher of Music Theory and Solfa. He has taught Music Theory in several Conservatories since 1990. He has been using computers and modern technology for composing since the year 2000.

Yooco and AliBaba are his first works using electronics, after a period dedicated to the in-depth study of so-called classical music.

I wrote the last quaver of "Atman" for a violin, flute, marimba and vibraphone quartet on 31st December, 1999 (this piece has not yet had its debut) and then I went back to electronics. I knew it would be a long time before I wrote anything on manuscript paper again, and in fact I have not 'written' anything except for special occasions, such as for exams or contests.
Javier Iriso

These two pieces use the same sound files: vinyl records treated with knives and a scrubber and records made of cardboard and adhesive tape in a "noise" session which took place in my living-room. Yooco investigates the rhythmic fluctuations produced by the harmonics of a D major chord. I used a virtual organ and its registers to make the harmonics audible and to be able to manipulate them. In this sense it could be performed on a conventional organ. In AliBaba, the main part of the composition is made with a pro-53 synthesizer (virtual as well). The use of treated records (LP's) is more decisive in this piece, where I've used a vinyl edition of the story of AliBaba and the Forty Thieves and a single (45) of The Art of Noise.

Odinacusis and Odaxelagnia are two pieces composed in 2005 and can be understood as a duet of violins which have been substituted by two MS20 (virtual) synthesizers in Odinacusis and two Pro 54 in Odaxelagnia. They were conceived as pieces that can be manipulated in real time, and they both had their debut in Palencia in 2006. The version of Odinacusis included here was made in 2010 for this edition.
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