https://jsmishalanie.com Jacob Sachs-Mishalanie, Composer Mon, 14 Feb 2022 05:37:19 +0000 https://jsmishalanie.com en https://jsmishalanie.com/homepage-links Mon, 02 Mar 2020 13:11:03 +0000 Jacob Sachs-Mishalanie, Composer https://jsmishalanie.com/homepage-links only only only only https://jsmishalanie.com/scribble Wed, 14 Oct 2020 23:47:53 +0000 Jacob Sachs-Mishalanie, Composer https://jsmishalanie.com/scribble scribble cassette / digital via Mondoj 11/6/2020 Scribble by Jacob Sachs-Mishalanie <img width="3200" height="3200" width_o="3200" height_o="3200" data-src="https://freight.cargo.site/t/original/i/260b9600ae964e6fc84d6677431b50776685d1b2499e791b4fd372687ef2f6d8/MONDOJ14_1.jpg" data-mid="85622256" border="0" src="https://freight.cargo.site/w/1000/i/260b9600ae964e6fc84d6677431b50776685d1b2499e791b4fd372687ef2f6d8/MONDOJ14_1.jpg" /> <img width="3200" height="2400" width_o="3200" height_o="2400" data-src="https://freight.cargo.site/t/original/i/8038a8e6420324728035fde73325532aea10dc5e9998793ee50c8f5154eea4d5/MONDOJ14_2.jpg" data-mid="85622255" border="0" src="https://freight.cargo.site/w/1000/i/8038a8e6420324728035fde73325532aea10dc5e9998793ee50c8f5154eea4d5/MONDOJ14_2.jpg" />Scribble is truly a befitting name for this collection of miniatures created by composer and sound designer Jacob Sachs-Mishalanie. Recorded at his home this past Summer, the short, sweet pieces really are like aural scribbles in a notebook. Slightly chaotic and seemingly unintentional, the 7 tracks exhibit a childlike wonder, a fascination with how various sounds or rhythms work (or don’t work) in tandem. At the time of writing, Sachs-Mishalanie was particularly interested in exploring loose evolving patterns, utilizing sounds that feel both natural and synthetic - for instance atmospheric field recordings, uncanny MIDI xylophones, and clumsy samples of his own voice. The resulting pieces each explore a singular environment, in which various elements (often quite literally) bounce off each other. There is no obvious logic to how these pieces evolve and behave, but there is something uniquely captivating about these recordings - they are surreal, yet eerily familiar.[Words by Adam Badí Donoval] A1. Aogaeru (2:42)A2. Carrot World (2:38)A3. aq (0:34)A4. Thinkin’ Things (2:15) B1. Sprout (1:52)B2. Aquatic Solutions (3:57)B3. Scribble (1:47) Recorded at Home in Brooklyn, NY, Summer 2020 Field Recordings:● (A1) G Train [9.18.2018]● (A2) Roasted Carrots at Home [3.8.2020]● (A4) Arcade in Kyoto [7.25.2019]● (B1) Backyard Bugs at Home [8.12.2020]● (B2) Rain at Home [5.1.2020]All Sounds by Jacob Sachs-Mishalaniejsmishalanie.comMastered by Angel Marcloidangelmarcloidav.comArtwork and layout by Paulina Ufnal &amp; Janek Ufnal https://jsmishalanie.com/I-listen-in-my-house Sun, 26 Apr 2020 19:46:25 +0000 Jacob Sachs-Mishalanie, Composer https://jsmishalanie.com/I-listen-in-my-house I listen in my house I listen in my house [is / will be] a series of at home performance videos involving live field recordings &amp; algorithmic music. [1] streamed on RGB.dog Bedroom Liveout #2, April 25, 2020 https://jsmishalanie.com/live-code-your-track-live Sat, 09 May 2020 23:45:38 +0000 Jacob Sachs-Mishalanie, Composer https://jsmishalanie.com/live-code-your-track-live live code your track live album &amp; video series created by Umanesimo Artificiale.Live code your track live by Umanesimo Artificiale <img width="1417" height="1417" width_o="1417" height_o="1417" data-src="https://freight.cargo.site/t/original/i/fdee6a7d155b6ad6c7201940ef3158cac4f6e99d69ffcbcbb4cae5467e624458/105485482_1027214217694772_5962608679602687437_o.jpg" data-mid="75628963" border="0" src="https://freight.cargo.site/w/1000/i/fdee6a7d155b6ad6c7201940ef3158cac4f6e99d69ffcbcbb4cae5467e624458/105485482_1027214217694772_5962608679602687437_o.jpg" /> <img width="1417" height="1417" width_o="1417" height_o="1417" data-src="https://freight.cargo.site/t/original/i/fdee6a7d155b6ad6c7201940ef3158cac4f6e99d69ffcbcbb4cae5467e624458/105485482_1027214217694772_5962608679602687437_o.jpg" data-mid="75628963" border="0" src="https://freight.cargo.site/w/1000/i/fdee6a7d155b6ad6c7201940ef3158cac4f6e99d69ffcbcbb4cae5467e624458/105485482_1027214217694772_5962608679602687437_o.jpg" /> ‘Live code your track live' is a video series created by Umanesimo Artificiale, in which algorave and algorithmic music artists code a track live from scratch in up to 30 minutes while explaining their creative process and the technology they are using and/or they have uniquely built. The resulting tracks make up the first release by Umanesimo Artificiale multimedia label. https://jsmishalanie.com/flintstone-chime-bottle-voice Wed, 08 Jan 2020 18:22:43 +0000 Jacob Sachs-Mishalanie, Composer https://jsmishalanie.com/flintstone-chime-bottle-voice flintstone chime bottle voice musique concrète purchase record / free digital dl on bandcamp 5” lathe cut record, edition of 35&amp; free digital download released February 29 2020 flintstone chime bottle voice by Jacob Sachs-Mishalanie <img width="3307" height="3312" width_o="3307" height_o="3312" data-src="https://freight.cargo.site/t/original/i/cbf9873087c88d12451da8c5bbe33beae73693c200c659f5a762ae917554305e/P1090604.jpg" data-mid="62310112" border="0" src="https://freight.cargo.site/w/1000/i/cbf9873087c88d12451da8c5bbe33beae73693c200c659f5a762ae917554305e/P1090604.jpg" /> <img width="3174" height="3174" width_o="3174" height_o="3174" data-src="https://freight.cargo.site/t/original/i/50034364f7a7d5e09379ad375af18556dd8f04efb7150fecc7d09cce9409b7f4/P1090614.jpg" data-mid="62310113" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/50034364f7a7d5e09379ad375af18556dd8f04efb7150fecc7d09cce9409b7f4/P1090614.jpg" /> <img width="2990" height="2990" width_o="2990" height_o="2990" data-src="https://freight.cargo.site/t/original/i/e348733cad0afa98d5048c7ae6a545ae718e0599e2103320cf555b39468e1ed8/P1090643.jpg" data-mid="62310115" border="0" src="https://freight.cargo.site/w/1000/i/e348733cad0afa98d5048c7ae6a545ae718e0599e2103320cf555b39468e1ed8/P1090643.jpg" /> <img width="2514" height="2514" width_o="2514" height_o="2514" data-src="https://freight.cargo.site/t/original/i/72cdf9d979dc1b6278e2efc4b31b3cf6f1c51f47bad5f32dbcf08fb3e36edd0a/P1090621.jpg" data-mid="62310114" border="0" src="https://freight.cargo.site/w/1000/i/72cdf9d979dc1b6278e2efc4b31b3cf6f1c51f47bad5f32dbcf08fb3e36edd0a/P1090621.jpg" /> <img width="3084" height="3084" width_o="3084" height_o="3084" data-src="https://freight.cargo.site/t/original/i/d3a948d7977b3a62b78978b2f93f8f41d05c5cae97d852a9bdbde5cc5e4d1761/P1090648.jpg" data-mid="62310116" border="0" src="https://freight.cargo.site/w/1000/i/d3a948d7977b3a62b78978b2f93f8f41d05c5cae97d852a9bdbde5cc5e4d1761/P1090648.jpg" /> <img width="3151" height="3151" width_o="3151" height_o="3151" data-src="https://freight.cargo.site/t/original/i/1ab97e9fd2c2b10ed291d79f49b6443d3ece748debe9d363be45155393ce6a99/P1090676.jpg" data-mid="62310117" border="0" src="https://freight.cargo.site/w/1000/i/1ab97e9fd2c2b10ed291d79f49b6443d3ece748debe9d363be45155393ce6a99/P1090676.jpg" /> <img width="1800" height="1800" width_o="1800" height_o="1800" data-src="https://freight.cargo.site/t/original/i/3ddd751e2dca8b6a8696f3e6147ca2e483462fa6d1e0d3e457306c029930349f/JSM-FCBV-Digital-Cover.png" data-mid="61744656" border="0" src="https://freight.cargo.site/w/1000/i/3ddd751e2dca8b6a8696f3e6147ca2e483462fa6d1e0d3e457306c029930349f/JSM-FCBV-Digital-Cover.png" /> music, mix, &amp; master by Jacob Sachs-Mishalanie drawings by R. Turner lathe cut records by Precarian Cuts These pieces were inspired by sounds I found and objects I recorded:&nbsp; sound effects from the Flintstones, my grandma’s chimes, a water bottle, and my voice. I like seeing the variety of sounds ordinary objects can make and find their origin stories meaningful when later combining them in a piece. These pieces were also a response to a summer studying Pierre Schaeffer for my PhD exams &amp; dissertation. His music and thinking wrestled with what it means for a sound to be musical or anecdotal, and how recording transforms or erases the meaning of a sound. This also led me to have this music cut to plexiglass records, similar to the technology Schaeffer used in his early pieces. Each of the 35 records were hand cut and they all end with a unique closed groove at that loops endlessly. I plan to use these records as instruments and sound sources. <img width="4608" height="3116" width_o="4608" height_o="3116" data-src="https://freight.cargo.site/t/original/i/731d6e8436e49d15ce0c70d8c7ec1bf1d23aa05d87364985c3865a68821a3815/P1090585.jpg" data-mid="61738842" border="0" src="https://freight.cargo.site/w/1000/i/731d6e8436e49d15ce0c70d8c7ec1bf1d23aa05d87364985c3865a68821a3815/P1090585.jpg" /> https://jsmishalanie.com/Clarinet-and-Shadow Mon, 14 Feb 2022 05:37:19 +0000 Jacob Sachs-Mishalanie, Composer https://jsmishalanie.com/Clarinet-and-Shadow Clarinet and Shadow Clarinet &amp; ElectronicsWritten for Gleb Kanasevich In residence with GC Composers, Spring 2021video score <img width="1800" height="1800" width_o="1800" height_o="1800" data-src="https://freight.cargo.site/t/original/i/918df9c7b84f0f456f37e5d6fb082a939ceb47b64775acd84dd6cf83ca9a1c4e/squ-cover.jpg" data-mid="133403313" border="0" src="https://freight.cargo.site/w/1000/i/918df9c7b84f0f456f37e5d6fb082a939ceb47b64775acd84dd6cf83ca9a1c4e/squ-cover.jpg" /> In Clarinet and Shadow, live electronics pitch shift the clarinet to create harmonies and add the sound of an artificial instrument. The electronics are the clarinet’s shadow: unreal, always there, and tied to its movement. More information on the electronics can be found in the score. In this first realization, seen in the video above, the electronics were performed with a 16n controlling Ableton. The clarinet mics were fed into 13 different tracks. Each track had the pitch shifting plugin Little AlterBoy by Soundtoys, set to particular intervals that are unchanged (see the image to the right). The first 13 faders on the 16n adjust the volume of each of these tracks, mixing a pitch shifted sound with the original sound to create harmonies. To create the artificial instrument, I took a sample of Gleb from a rehearsal and loaded it into Ableton’s Sampler Instrument. Using a simple max-for-live device, the chord is triggered every time faders 14 &amp; 15 are raised above 0. These faders also control the volume of these instruments. Lastly, this same max-for-live device mapped fader 16 to the pitch bend of the sampler instruments. To get the proper pitch bend range, the first sampler was set to +/- 1 semitone, and the second was set to +/- 2 semitones. For this version, I was aiming for a somewhat natural sound in the electronics. This is why I chose to use the sampler &amp; Soundtoys plugin. In a future version, I think it would be interesting to aim for a more artificial or uncanny electronic sound, with a synthesized clarinet &amp; pitch shifter with more artifacts. I hope this piece can be a platform for experimentation. <img width="1800" height="1800" width_o="1800" height_o="1800" data-src="https://freight.cargo.site/t/original/i/9823474f0ba454260521a76414f4310234fdd7e59b61ea52bdc85bb72136e9cc/Clarinet-and-Shadow-Electronics-Diagram.jpg" data-mid="133403371" border="0" src="https://freight.cargo.site/w/1000/i/9823474f0ba454260521a76414f4310234fdd7e59b61ea52bdc85bb72136e9cc/Clarinet-and-Shadow-Electronics-Diagram.jpg" /> https://jsmishalanie.com/bend-the-slats-apart-and-look-through Sun, 17 Jan 2021 22:17:11 +0000 Jacob Sachs-Mishalanie, Composer https://jsmishalanie.com/bend-the-slats-apart-and-look-through bend the slats apart and look through Quartet &amp; ElectronicsWritten for the Unheard-of//Ensemble for the 2020 CCI//Sessions bandcamp score <img width="1200" height="1152" width_o="1200" height_o="1152" data-src="https://freight.cargo.site/t/original/i/2e678fdbc390b687aedd7722bccc21d60669c0d37b0d6563fbfb491432207783/CCIv.2-Cover.jpg" data-mid="95434304" border="0" src="https://freight.cargo.site/w/1000/i/2e678fdbc390b687aedd7722bccc21d60669c0d37b0d6563fbfb491432207783/CCIv.2-Cover.jpg" /> CCI//Sessions, vol. 2 by Unheard-of//Ensemble Written during the pandemic of 2020, Bend the slats apart and look through was conceived as a recording project rather than a live piece. The role of a pianist as hybridized with an audio engineer, and the ensemble as a meta-instrument played by the keyboardist-engineer. To play the ensemble, (or mix the recording, depending on your preferred metaphor), the sustain pedal turns on and off amplification from close mics, while the keys amplify narrow frequency bands tuned to the pitch of each key. The changing amplification creates a dynamic listening perspective, cutting between brittle intimacy, soft distance, and harmonies filtered from noise and overtones. https://jsmishalanie.com/hover-between-something-and-something-else Fri, 13 Dec 2019 19:07:37 +0000 Jacob Sachs-Mishalanie, Composer https://jsmishalanie.com/hover-between-something-and-something-else hover between something and something else String Quartet &amp; ElectronicsWritten for the Mivos Quartetin residence at the CUNY Graduate Center, Spring 2018. Finalist in the 2020 Lake George Music Festival Composition Competition. score <img width="2400" height="2400" width_o="2400" height_o="2400" data-src="https://freight.cargo.site/t/original/i/24ae22bb67ad9f560260f2135e6458718c46c0b16b361dfb0d3c32901d0fd3cd/Hover_cover-square.jpg" data-mid="56660551" border="0" data-scale="100" data-draggable src="https://freight.cargo.site/w/1000/i/24ae22bb67ad9f560260f2135e6458718c46c0b16b361dfb0d3c32901d0fd3cd/Hover_cover-square.jpg" /> In a scene towards the end of the film Through a Glass Darkly, an ambulance helicopter descends and a door in a house opens. Inside, Karin sees the door opened by god, while the rest of her family sees the door opened by vibrations and wind. In this piece, a recording of a helicopter, or white noise filtered to imitate the recording of a helicopter, act as a sound blanket, covering the acoustic string quartet. While some acoustic sounds emerge, most are hidden from ear. Amplification is used to generate an additional voice, distant and artificial, rather than to reinforce the acoustic sound. These voices may be heard as singular, inseparable, from a common source – or, detached, from different worlds, and irreconcilable – or, possibly, some uncanny place between. https://jsmishalanie.com/I-if-I Sat, 14 Dec 2019 17:28:46 +0000 Jacob Sachs-Mishalanie, Composer https://jsmishalanie.com/I-if-I I if I Commissioned by the VIPA Festival for the Mivos Quartet Premiered July 7, 2017 in Valencia, Spain Finalist for the 2018 World New Music Days nominated by New Music Miami. score <img width="2400" height="2400" width_o="2400" height_o="2400" data-src="https://freight.cargo.site/t/original/i/61e63a0b110371a42e57856023f84c08308d130c2f80b854eaf8c1eb33e99e5a/I-if-I-cover-square.jpg" data-mid="56660676" border="0" src="https://freight.cargo.site/w/1000/i/61e63a0b110371a42e57856023f84c08308d130c2f80b854eaf8c1eb33e99e5a/I-if-I-cover-square.jpg" /> I if I is the third in a series of pieces exploring the differences in our interpretation of meaning, expression, and genuineness in acoustic and electronic sounds. Acoustic tones are juxtaposed with amplified, pre-recorded, and synthesized tones, and string noise is put up against white noise and recorded water sounds. Here are a few related questions: Is a recording merely an image of a past sound? Is an amplified sound less ‘real’ if the speaker is separated from the instrument? If we interpret a sound as ‘artificial,’ do we take it less seriously? Is there some space between ‘real’ and ‘artificial’? https://jsmishalanie.com/Daisy-Hold-Into Sat, 14 Dec 2019 17:46:32 +0000 Jacob Sachs-Mishalanie, Composer https://jsmishalanie.com/Daisy-Hold-Into Daisy, Hold Into solo for piano &amp; electric piano 2017 score <img width="2400" height="2400" width_o="2400" height_o="2400" data-src="https://freight.cargo.site/t/original/i/60cae9d6319debac875b4c8ee39bbd083b24d801f47215c21ab5475ad93d9890/daisy-cover-square.jpg" data-mid="56717140" border="0" src="https://freight.cargo.site/w/1000/i/60cae9d6319debac875b4c8ee39bbd083b24d801f47215c21ab5475ad93d9890/daisy-cover-square.jpg" /> program note: (by Matt Sandahl) Daisy, Hold Into takes as its starting point the aesthetic tensions that emerge between electronic and acoustic sound – or more precisely, between pre-recorded material sounding from speakers and live material produced by traditional instruments. Rather than try and reconcile these two worlds, this piece lays bare the ontological differences between the two categories by means of simple juxtaposition. Extremely spare and austere musical material is distributed between an acoustic piano and an electronic copy of the same instrument, in a manner that foregrounds nuances of timbre and spatial diffusion. This technique of letting musical properties reveal themselves through juxtaposition becomes an operative principle of the piece in general, working across several parametrical registers. Contrasting musical states are not negotiated alongside any sort of continuum. Rather, they are placed plainly beside each other, interwoven into a kind of mosaic. There is no discursive logic or linear process guiding the music along, but instead an intimate sense of free play. This is music that encourages a child-like re-encounter with the world, with all of the freshness, sensuality, and strangeness that such an experience entails.