Algorithmic prism pusher Guy Birkin marshals his ‘Rushed Snares’ with stentorian command recalling Craxxxsmurf’s 1000 snares or EVOL on his call up to Superpang.
On a dozen permutations Birkin puts the fundamental percussive punctuation thru its paces, exploring to the nth degree its function in a range of possibilities, or, in his own words; “Explorations of sounds created by drum synths + saturation at a wide range of bpm. Mathematica software was used to generate MIDI files in which the number of beats per cycle is based on algorithmic number sequences.”
They’re primed for use by weirdos in applicable situations with cuts ranging from routines for spannered cheerleaders in ‘snare512integer-divisors’, to suggestions for contemporary dancers in ‘kick128lowest-prime-divisors’, with standouts in the frozen shivers of ‘snare64gray-code’, something close to Dolo Percussion jaunts on ‘kick64rzf-snare512ds-hat128lpd’, and the lop-sided asymmetries of ‘kick-snare-clap2048dirichlet-expansion-coeff’.
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Algorithmic prism pusher Guy Birkin marshals his ‘Rushed Snares’ with stentorian command recalling Craxxxsmurf’s 1000 snares or EVOL on his call up to Superpang.
On a dozen permutations Birkin puts the fundamental percussive punctuation thru its paces, exploring to the nth degree its function in a range of possibilities, or, in his own words; “Explorations of sounds created by drum synths + saturation at a wide range of bpm. Mathematica software was used to generate MIDI files in which the number of beats per cycle is based on algorithmic number sequences.”
They’re primed for use by weirdos in applicable situations with cuts ranging from routines for spannered cheerleaders in ‘snare512integer-divisors’, to suggestions for contemporary dancers in ‘kick128lowest-prime-divisors’, with standouts in the frozen shivers of ‘snare64gray-code’, something close to Dolo Percussion jaunts on ‘kick64rzf-snare512ds-hat128lpd’, and the lop-sided asymmetries of ‘kick-snare-clap2048dirichlet-expansion-coeff’.
Algorithmic prism pusher Guy Birkin marshals his ‘Rushed Snares’ with stentorian command recalling Craxxxsmurf’s 1000 snares or EVOL on his call up to Superpang.
On a dozen permutations Birkin puts the fundamental percussive punctuation thru its paces, exploring to the nth degree its function in a range of possibilities, or, in his own words; “Explorations of sounds created by drum synths + saturation at a wide range of bpm. Mathematica software was used to generate MIDI files in which the number of beats per cycle is based on algorithmic number sequences.”
They’re primed for use by weirdos in applicable situations with cuts ranging from routines for spannered cheerleaders in ‘snare512integer-divisors’, to suggestions for contemporary dancers in ‘kick128lowest-prime-divisors’, with standouts in the frozen shivers of ‘snare64gray-code’, something close to Dolo Percussion jaunts on ‘kick64rzf-snare512ds-hat128lpd’, and the lop-sided asymmetries of ‘kick-snare-clap2048dirichlet-expansion-coeff’.
Algorithmic prism pusher Guy Birkin marshals his ‘Rushed Snares’ with stentorian command recalling Craxxxsmurf’s 1000 snares or EVOL on his call up to Superpang.
On a dozen permutations Birkin puts the fundamental percussive punctuation thru its paces, exploring to the nth degree its function in a range of possibilities, or, in his own words; “Explorations of sounds created by drum synths + saturation at a wide range of bpm. Mathematica software was used to generate MIDI files in which the number of beats per cycle is based on algorithmic number sequences.”
They’re primed for use by weirdos in applicable situations with cuts ranging from routines for spannered cheerleaders in ‘snare512integer-divisors’, to suggestions for contemporary dancers in ‘kick128lowest-prime-divisors’, with standouts in the frozen shivers of ‘snare64gray-code’, something close to Dolo Percussion jaunts on ‘kick64rzf-snare512ds-hat128lpd’, and the lop-sided asymmetries of ‘kick-snare-clap2048dirichlet-expansion-coeff’.