logo
Also in this section:
Music Production: Comprovisations & Impositions
11/20/2004 Comprovisations & Impositions: No. 2, at 937 Liberty

Announcement

Saturday, 11/20/2004, at 937 Liberty Avenue, Downtown, it's the return of Comprovisations & Impositions!

Fresh from having joined the Glenn Branca Ensemble for the recording of Branca's Symphony No. 13, I'll be taking a more aggressive edge with these large-group pieces. Hear more open strings! Hear louder amps! Use hearing protection so you can hear things the next day! (I have a 200 count box on the way, but bring yours just in case.)

The lineup: Mr. & Mr$ Funky return on guitar and bass, and I'll be playing and conducting. Otherwise, it's an entirely new band! Joining us will be drumming powerhouse Ryan Sigesmund, and on guitar, fellow Branca ensemble member Taichi Nakatani, Steve Pellegrino (possibly his first show on guitar), technical metal brain surgeon Karl Franklin, and Pittsburgh music luminary Sam Matthews (Feral Family, zillions more.). And there will be new, never-heard-before pieces! How can you lose?

But that's not all! Cultural interdimensional explorer and master performance artist Steve Pellegrino will start us off with a solo looping set, based on his recent inspirations and on Pittsburgh's radio history, and it oughta be quite a blast. So come on down and build up some calluses on your brain before it gets all soft from Thanksgiving.

937 Liberty Avenue, Downtown, 8pm, all ages, FREE. Directions at http://tinyurl.com/5jzb5

Report
Surprisingly awesome. I wasn't sure how it would go, given the way the last one was unsatisfying to me, but this one was strong, even with some defects.

To deal with the problems of the last one (too quiet, nonoptimal performance of the graphic score, unsatisfying performance of the "Suspend" piece), I wanted to work the scores over in advance, and also have people play more open strings, using the octave unison tunings I'd picked up as part of the Branca ensemble. Right off, then, there were two complications: while I was doing a lot of design and programming work, I was also remaking these scores and working on one new score; in addition, one of my players didn't want to restring and another's guitar disappeared, so I'd be buying instruments for them.

A few weeks in advance of the show, I took a tour of the local guitar shops, finding (at the end of the day) a little black CMI electric, a pseudo-offset body, two single-coil pickups, and a stained pine fingerboard for all of $50. Excellent! One down. They tried to talk me out of it at first, as the pickups would be microphonic if the guitar was going through a fuzztone. I figured that we'd be playing clean, so I went ahead with it. As I was paying for it, one of the people in the store said, "You're not going to smash it, are you?" which I wasn't--I don't believe in smashing instruments. It was nearly ready for performing, although I had to shim the neck, tweak the truss rod, and grind off the bridge posts, which extended rather far above the bridge itself and posed a hazard to the player.

The second guitar came via ebay, a Heit DeLuxe with some rather loud single-coils. I had to shim this one and let out the truss rod (a previous owner had tightened it as far as it would go), and glue down the fingerboard. Alas, there are some bad fret buzzes with these low frets, so I had to raise the bridge.

I also bought strings, and distributed them to Karl and Sam, with Rob's and Steve's strings taken care of by the instruments I'd be buying. That left me and Taichi, and I figured he'd might leave his guitar in the tenor tuning, while I decided to use my Univox Hi-Flyer, as I'd not gigged with it before (in the...geez...20 years of owning it), so why not. And I didn't want to mess up the setup of the Kalamazoo.

I kept working on the pieces late at night after full days of programming, which had me courting eye fatigue as well as sleep deprivation. I made edits to the existing pieces, generally lengthening them and adding fermata so that we could all catch up with each other, although the graphic score ("Double Intrusion") doesn't lend itself to lengthening and had other problems. For it, I assigned lines through it to the players, instead of having them choose, and I also added detailed instructions encouraging the use of rests and space, as the last performance was too noodly. And I made it clear that everyone was to work together on this one--we needed to listen to each other.

I'd been thinking of doing two new pieces to replace "Suspend," which worked a few years ago but didn't work this most recent time. Also, it would be nearly impossible to play in the new tunings, so it was time to retire this one, at least for a while. The first new piece would be based on the octatonic scale (alternating major and minor seconds), giving the piece an uneasy dissonance.

I struggled with this one. While it had a reasonable form (introduce octatonic dissonance, then cloud up into chromaticism with stacked minor seconds, building to a big cluster, and then condensing these into different consonances to end), actually enacting that moment to moment was difficult. Since there were to be long sustained notes in the piece, I previewed it with the OS's built-in MIDI sounds. The piano sound's better, but I needed the sustain and went with the organ, which had the disadvantage of sounding cheesily bad-horror-movie creepy. Pretty much all the way through the thing I was afraid it was going to suck, but I kept pushing on. It consumed too much time for me to write yet another new one, so that'll have to wait until next time.

Another difference in this performance was that I produced scores for each player--that way each player wouldn't have to worry about which staff to follow, and could be read much more easily. One of the many nice features of Melody Assistant. I also took care of one last detail the week before the show--I expected that this would be a loud show so I could start experimenting with standing waves and interferences in the room, but I didn't want to deafen the audience, so I bought a 200-count box of pairs of foam hearing protectors. Happily, it arrived on-time, so I'd have those on-hand.

As this was the weekend before Patricia's birthday--and the birthday of Mr$ Funky--we thought to combine the show with a party. Since our only rehearsal would be before the show, it also seemed reasonable to feed the band. We knew the room had a kitchen and fridge in the backstage area, so this was feasible.

I spent the day finally getting my own rehearsal in, and in the process, discovered that a lot was missing from the Octatonic piece. A lot of the dissonant section was just plain gone. Apparently sometime during the editing process, I deleted a big chunk of work, which was disappointing, but we were just a few hours to rehearsal and showtime, quite clearly too late to reconstruct. So what to do? Put repeats around the dissonant section we had, and around the consonant section at the end. Considering that we'd likely get out of sync anyway, each of these repetitions would be somewhat different. It'd have to do. I also learned that my hand had become used to the thicker neck of the Kalamazoo, and the thin neck of the Univox was a bit uncomfortable for this kind of playing. Too late to change the axe, though, so I'd soldier on.

In addition, we lost a player. I'd been a bit concerned to see that Karl had only downloaded one of the scores, so I called him and left a message. He called back, pointing out that his life had developed some complications which would keep him from the gig. Unfortunate, as I'd written these parts for six guitarists, and he'd seemed into the concept the last few times we'd talked about it...but in a way it was a relief, as I'd known that all the other players had downloaded and gone through their parts, so we were all on the same footing with these pieces.

We drove down to the space at about 4:45, bringing all my gear and the food for the band. Steve and his family were in the house, and we shortly gained the Funkies, Sam, and Taichi. Ryan showed up, partially assembled his kit, and we got to rehearsing and soundchecking. I wanted to run through all the pieces to get everyone in the same conceptual space, and we also made a few last-minute decisions on how to play pieces, most notably the new repeats on "Octatonic." I wasn't sure if I wanted people to go through these sections twice or more--I was leaning toward three, which is a natural "joke" structure--but thought maybe we should go for concision. Rob voiced a strong preference for three, which was good enough for me. So it'd be three times through each section.

Soundchecking was a bit fraught at first, with the wide variety of levels: Sam had perhaps the lowest output guitar, but was coming in quite loud through Steve's accordion amp, while I had trouble getting Taichi's guitar to the exact level I wanted--it seemed like we were always overshooting, and Steve hit us with a blast from the Heit, when we kept turning him up and hearing no sound, only to realize that both pickup switches were off. Before the show, Steve (a keyboard genius, but not someone who regularly plays guitar) had also mentioned that the staircase chords were difficult for him to finger, so I said that he could just play the root note straight across, and not worry about the minor seconds. We'd have enough dissonance in the house.

Frank Ferraro and his family showed up as well, and the rest of us moved to the kitchen to get a bite to eat before the show, as well as get the different players bonding a bit. Ryan and I also discussed playing strategy on these pieces--of all the players, he'd have the most freedom, as I didn't write anything out for him, but I did have some ideas in mind. Steve set up his rig, Frank set up his, and we waited for the audience to appear.

Eventually, we had at least a few people showing up (free show, and we got a writeup from Chris Rawson at the Post-Gazette, so you'd think there'd be more people...but no), so Frank got started with his personal history with radio. It began very evocatively, with several sampled sounds being played over his micro-radio transmitter, that was broadcasting to a transistor radio placed on a podium and lit with the only light in the house. Very nice. He then talked about his relationship to radio, which was also interesting, although I liked the sampled section of the piece so much that I'd like to hear the whole talk interwoven with it.

Steve's "Calling Mr. Conrad" was actually not the piece I was expecting--he'd borrowed my Line6 DL4 and Ryan's Yamaha keyboard for it, so I assumed he was going to do some keyboard looping. In this realization, he was mainly using the DL4 for the simulated echo pedal, and instead of looping, he had Mr. Funky come up to play a pedal tone while he soloed on melodica and sang some sections. Quite interesting, even as I'd had to adjust to this conception of the piece. I'd like to hear a fuller arrangement of this one, as we get closer to the large piece he wants to do in the summer.

For my section of the evening, I started with an announcement about the hearing protection and passed them out to the audience. I explained the first piece (a mistake--I should have explained the pieces first before having people put the protection in), and we got rolling. "Rest" was again the first piece, and this one sounded good with the unison strings. As we got into the denser section at the end, Ryan kicked in the aggressive drumming (as we'd discussed), and it took the piece to a higher energy level. Very nice. And much condensed from the last show--this one clocked in at just over five minutes.

"Stacked Fourths" didn't fare so well, as we'd ended the previous piece on constant double-strumming, so this realization of it with double-strumming all the way through got kind of tedious. Next time, I'll go back to the old instructions for the piece, which rely on sustaining notes through other means, which should give the piece the breathing room it needs. I brought this one to an end after two and a half minutes.

"Double Intrusion," the graphic score, was next, and unlike the last time worked very, very well. One of our rehearsal discussions was whether or not to select a key, and I thought that the best approach would be not to--start playing, be forced to listen to each other, and then arrive at a key. It worked--we began quite compatibly, and the piece built from there. I stuck to harmonics in much of my section, although I did hit a few staircase chords as well. Regrettably, I wasn't fully satisfied with my tone, but worked with it as I could. Sam really laid into his parts, as did Taichi, and Jacque and Ryan developed some good grooves in places (although in rehearsal they said to each other that they thought I wouldn't go for that...but in truth, the grooves are good!). Rob discovered an interesting technique with the CMI--kicking in his Tube Screamer as a way of getting howling microphonic feedback at will, and he used this in exactly the right places. Perhaps because Sam's tone was cutting through aggressively, I had a hard time picking Steve's parts out from the general din, but the overall texture was working. Also, Ryan's drumming gave a real shape to this piece, helping it build, giving it a climax, and a resolution. He was essential to its success. Another five-minute piece.

In continuing the up-down nature of the show, "Tone Beating" once again failed to work in the large group, like "Stacked Fourths" a victim of the relentless double-strumming. Ideally, this piece should float, and the different guitar tones should create interference patterns, but this can't happen with the strumming. Either everyone needs an ebow or a violin bow, or something. This, too, ended under the three-minute mark; at this point I don't recall if we'd all reached the end (not being as leisurely as I wanted), or if I threw in the towel--probably some of each. Maybe I should just do this as a home recorded piece for demonstration next time--I'm not giving good signals to the band.

So with a two and two record we headed into the final, the octatonic piece. It began a bit leaden, as I'd asked Ryan to keep a slow beat on the bass drum to help us not drift so much, but a better request would have been hi-hat or a rimshot to keep the piece from being so doomy at first. This piece has combinations of long tones and short ones, giving it more variety than the less-successful pieces, and there's an interweaving of the different parts that works. In retrospect, the call-and-response sections worked well, although I shouldn't be afraid of repetition. As we moved into it, Ryan really kicked us into high gear and somehow found a groove in this, and Rob laid down some great feedback howls in addition to his written part. Jacque's bass started heavy with the bass drum (and some clunky writing on my part), but as the piece moved on and our sync drifted, she supported us well. The consonant part emerged gradually from the more dissonant middle section, and Rob and Taichi in particular had some very good tone here. Sam kept things spiky and aggressive, and Steve provided a good filling texture for us. Again, I was less happy with my own tone here, but it's a lesson for the future. This one was another five-minute piece, oddly.

And we were done! Some people came up to me to point out that they liked the set, which was good to hear. I learned from Patricia that the bulk hearing protectors I bought were apparently shop-rated and not audio-rated--they blocked out all kinds of things, and at least a few people pulled them part way out, so they could hear the overtones. Still, they were necessary, as Frank measured us on his SPL meter at 113dB. One audient observed to me that he thought the pieces would work better if there were no visuals (we'd had the house lights up), so maybe in the future a darkened stage with music stand lights might be the way to go...although I'd still need to be able to signal people effectively.

We packed up, Patricia headed home in advance of our guests, and I snagged a ride with the Funkies. Sam and Taichi opted not to join us, but everyone else came by for the afterparty. It was nice to unwind with people, although unfortunately I learned that there was a problem with the MiniDisc recording of the show, and it was full of dropouts (bad media? problem with the recorder itself?), so I spent much of the next afternoon going through and removing them. It would have been nice, though, to get the whole thing, and not have all these little cuts. Again, a lesson for next time--go straight to hard disk, or use all new media. Maybe both.

Many thanks are, of course, due to the band for bringing this off as well as possible, and for Steve for setting up the show. With any luck, there will be more in the coming year.

Contact:

You can buy my music right now over the 'net at onezero music-- instant music at sensible prices. You can check out free samples before you buy, and there's a discount for buying full albums or EPs.

If you like shiny discs, CDRs are also available. Click below for details:
music at a distance 156
snwv: music at a distance 156
Buy online

music at a distance 155
snwv: music at a distance 155
Buy online

music at a distance 154
snwv: music at a distance 154
Buy online

music at a distance 153
snwv: music at a distance 153
Buy online

music at a distance 152
snwv: music at a distance 152
Buy online

music at a distance 151
snwv: music at a distance 151
Buy online

music at a distance 150
snwv: music at a distance 150
Buy online

music at a distance 149
snwv: music at a distance 149
Buy online

music at a distance 148
snwv: music at a distance 148
Buy online

music at a distance 147
snwv: music at a distance 147
Buy online

music at a distance 146
snwv: music at a distance 146
Buy online

music at a distance 145
snwv: music at a distance 145
Buy online

low-frequency filtered noise source
snwv: low-frequency filtered noise source
Buy online

music at a distance 144
snwv: music at a distance 144
Buy online

music at a distance 143
snwv: music at a distance 143
Buy online

music at a distance 142
snwv: music at a distance 142
Buy online

music at a distance 141
snwv: music at a distance 141
Buy online

music at a distance 140
snwv: music at a distance 140
Buy online

music at a distance 139
snwv: music at a distance 139
Buy online

music at a distance 138
snwv: music at a distance 138
Buy online

music at a distance 137
snwv: music at a distance 137
Buy online

ambience music festival, October 29, 2022
snwv: ambience music festival, October 29, 2022
Buy online

music at a distance 136
snwv: music at a distance 136
Buy online

music at a distance 135
snwv: music at a distance 135
Buy online

music at a distance 134
snwv: music at a distance 134
Buy online

music at a distance 133
snwv: music at a distance 133
Buy online

music at a distance 132
snwv: music at a distance 132
Buy online

music at a distance 131
snwv: music at a distance 131
Buy online

music at a distance 130
snwv: music at a distance 130
Buy online

music at a distance 129
snwv: music at a distance 129
Buy online

music at a distance 128
snwv: music at a distance 128
Buy online

music at a distance 127
snwv: music at a distance 127
Buy online

music at a distance 126
snwv: music at a distance 126
Buy online

music at a distance 125
snwv: music at a distance 125
Buy online

music at a distance 124
snwv: music at a distance 124
Buy online

music at a distance 123
snwv: music at a distance 123
Buy online

music at a distance 122
snwv: music at a distance 122
Buy online

music at a distance 121
snwv: music at a distance 121
Buy online

music at a distance 120
snwv: music at a distance 120
Buy online

music at a distance 119
snwv: music at a distance 119
Buy online

music at a distance 118
snwv: music at a distance 118
Buy online

music at a distance 117
snwv: music at a distance 117
Buy online

music at a distance 116
snwv: music at a distance 116
Buy online

music at a distance 115
snwv: music at a distance 115
Buy online

music at a distance 114
snwv: music at a distance 114
Buy online

music at a distance 113
snwv: music at a distance 113
Buy online

music at a distance 112
snwv: music at a distance 112
Buy online

music at a distance 111
snwv: music at a distance 111
Buy online

music at a distance 110
snwv: music at a distance 110
Buy online

music at a distance 109
snwv: music at a distance 109
Buy online

music at a distance 108
snwv: music at a distance 108
Buy online

music at a distance 107
snwv: music at a distance 107
Buy online

music at a distance 106
snwv: music at a distance 106
Buy online

music at a distance 105
snwv: music at a distance 105
Buy online

music at a distance 104
snwv: music at a distance 104
Buy online

music at a distance 103
snwv: music at a distance 103
Buy online

music at a distance 102
snwv: music at a distance 102
Buy online

music at a distance 101
snwv: music at a distance 101
Buy online

virtual thundersnow 2022
snwv: virtual thundersnow 2022
Buy online

music at a distance 100
snwv: music at a distance 100
Buy online

music at a distance 99
snwv: music at a distance 99
Buy online

music at a distance 98
snwv: music at a distance 98
Buy online

music at a distance 97
snwv: music at a distance 97
Buy online

music at a distance 96
snwv: music at a distance 96
Buy online

music at a distance 95
snwv: music at a distance 95
Buy online

music at a distance 94
snwv: music at a distance 94
Buy online

music at a distance 93
snwv: music at a distance 93
Buy online

music at a distance 92
snwv: music at a distance 92
Buy online

music at a distance 91
snwv: music at a distance 91
Buy online

music at a distance 90
snwv: music at a distance 90
Buy online

music at a distance 89
snwv: music at a distance 89
Buy online

music at a distance 88
snwv: music at a distance 88
Buy online

music at a distance 87
snwv: music at a distance 87
Buy online

music at a distance 86
snwv: music at a distance 86
Buy online

music at a distance 85
snwv: music at a distance 85
Buy online

music at a distance 84
snwv: music at a distance 84
Buy online

music at a distance 83
snwv: music at a distance 83
Buy online

music at a distance 82
snwv: music at a distance 82
Buy online

music at a distance 81
snwv: music at a distance 81
Buy online

music at a distance 80
snwv: music at a distance 80
Buy online

music at a distance 79
snwv: music at a distance 79
Buy online

music at a distance 78
snwv: music at a distance 78
Buy online

music at a distance 77
snwv: music at a distance 77
Buy online

music at a distance 76
snwv: music at a distance 76
Buy online

music at a distance 75
snwv: music at a distance 75
Buy online

music at a distance 74
snwv: music at a distance 74
Buy online

music at a distance 73
snwv: music at a distance 73
Buy online

music at a distance 72
snwv: music at a distance 72
Buy online

music at a distance 71
snwv: music at a distance 71
Buy online

music at a distance 70
snwv: music at a distance 70
Buy online

music at a distance 69
snwv: music at a distance 69
Buy online

PRFBBQ 2021
snwv: PRFBBQ 2021
Buy online

music at a distance 68
snwv: music at a distance 68
Buy online

music at a distance 67
snwv: music at a distance 67
Buy online

music at a distance 66
snwv: music at a distance 66
Buy online

music at a distance 65
snwv: music at a distance 65
Buy online

music at a distance 64
snwv: music at a distance 64
Buy online

music at a distance 63
snwv: music at a distance 63
Buy online

music at a distance 62
snwv: music at a distance 62
Buy online

music at a distance 61
snwv: music at a distance 61
Buy online

music at a distance 60
snwv: music at a distance 60
Buy online

music at a distance 59
snwv: music at a distance 59
Buy online

music at a distance 58
snwv: music at a distance 58
Buy online

music at a distance 57
snwv: music at a distance 57
Buy online

music at a distance 56
snwv: music at a distance 56
Buy online

music at a distance 55
snwv: music at a distance 55
Buy online

music at a distance 54
snwv: music at a distance 54
Buy online

Memphis Concrete 2021
snwv: Memphis Concrete 2021
Buy online

music at a distance 53
snwv: music at a distance 53
Buy online

music at a distance 52
snwv: music at a distance 52
Buy online

music at a distance 51
snwv: music at a distance 51
Buy online

music at a distance 50
snwv: music at a distance 50
Buy online

Thundersnow 2021
snwv: Thundersnow 2021
Buy online

music at a distance 49
snwv: music at a distance 49
Buy online

music at a distance 48
snwv: music at a distance 48
Buy online

music at a distance 47
snwv: music at a distance 47
Buy online

music at a distance 46
snwv: music at a distance 46
Buy online

music at a distance 45
snwv: music at a distance 45
Buy online

music at a distance 44
snwv: music at a distance 44
Buy online

music at a distance 43
snwv: music at a distance 43
Buy online

This Shore
snwv: This Shore
Buy online

music at a distance 42
snwv: music at a distance 42
Buy online

music at a distance 41
snwv: music at a distance 41
Buy online

music at a distance 40
snwv: music at a distance 40
Buy online

music at a distance 39
snwv: music at a distance 39
Buy online

music at a distance 38
snwv: music at a distance 38
Buy online

music at a distance 37
snwv: music at a distance 37
Buy online

music at a distance 36
snwv: music at a distance 36
Buy online

music at a distance 35
snwv: music at a distance 35
Buy online

music at a distance 34
snwv: music at a distance 34
Buy online

music at a distance 33
snwv: music at a distance 33
Buy online

music at a distance 32
snwv: music at a distance 32
Buy online

music at a distance 31
snwv: music at a distance 31
Buy online

music at a distance 30
snwv: music at a distance 30
Buy online

music at a distance 29
snwv: music at a distance 29
Buy online

music at a distance 28
snwv: music at a distance 28
Buy online

music at a distance 27
snwv: music at a distance 27
Buy online

music at a distance 26
snwv: music at a distance 26
Buy online

music at a distance 25
snwv: music at a distance 25
Buy online

music at a distance 24
snwv: music at a distance 24
Buy online

music at a distance 23
snwv: music at a distance 23
Buy online

music at a distance 22
snwv: music at a distance 22
Buy online

music at a distance 21
snwv: music at a distance 21
Buy online

music at a distance 20
snwv: music at a distance 20
Buy online

music at a distance 19
snwv: music at a distance 19
Buy online

music at a distance 18
snwv: music at a distance 18
Buy online

music at a distance 17
snwv: music at a distance 17
Buy online

music at a distance 16
snwv: music at a distance 16
Buy online

music at a distance 15
snwv: music at a distance 15
Buy online

music at a distance 14
snwv: music at a distance 14
Buy online

music at a distance 11
snwv: music at a distance 11
Buy online

music at a distance 10
snwv: music at a distance 10
Buy online

music at a distance 11
snwv: music at a distance 11
Buy online

music at a distance 10
snwv: music at a distance 10
Buy online

music at a distance 9
snwv: music at a distance 9
Buy online

music at a distance 8
snwv: music at a distance 8
Buy online

music at a distance 7
snwv: music at a distance 7
Buy online

music at a distance 6
snwv: music at a distance 6
Buy online

music at a distance 5
snwv: music at a distance 5
Buy online

music at a distance 4
snwv: music at a distance 4
Buy online

music at a distance 3
snwv: music at a distance 3
Buy online

music at a distance 2
snwv: music at a distance 2
Buy online

music at a distance 1
snwv: music at a distance 1
Buy online

Live at Thundersnow 2020
snwv: Live at Thundersnow 2020
Buy online

improvisations for guitar and delays
snwv: improvisations for guitar and delays
Buy online

80 84 88 92 Hz
snwv: 80 84 88 92 Hz
Buy online

Live at Garfield Artworks, February 14, 2011
The Bureau of Nonstandards: Live at Garfield Artworks, February 14, 2011
Buy online

Live at the Three Rivers Arts Festival, June 4, 2010
The Bureau of Nonstandards: Live at the Three Rivers Arts Festival, June 4, 2010
Buy online

Live at Garfield Artworks, November 30, 2010
The Bureau of Nonstandards: Live at Garfield Artworks, November 30, 2010
Buy online

Live at Garfield Artworks, October 27, 2010
The Bureau of Nonstandards: Live at Garfield Artworks, October 27, 2010
Buy online

Live on WRCT, March 23, 2009
The Bureau of Nonstandards: Live on WRCT, March 23, 2009
Buy online

Live at Morning Glory Coffeehouse, March 6, 2009
The Bureau of Nonstandards: Live at Morning Glory Coffeehouse, March 6, 2009
Buy online

The Furbies of Tibet: Live on WPTS, February 18, 2009
The Bureau of Nonstandards: The Furbies of Tibet: Live on WPTS, February 18, 2009
Buy online

The Bureau of Nonstandards
The Bureau of Nonstandards: The Bureau of Nonstandards
Buy online

piece for wave-field array
snwv: piece for wave-field array
Buy online

Thundersnow 2019
snwv: Thundersnow 2019
Buy online

With Guitar
snwv: With Guitar
Buy online

Live at the Black Forge, April 9, 2018
snwv: Live at the Black Forge, April 9, 2018
Buy online

Exorcism Meditation
snwv: Exorcism Meditation
Buy online

40 Hz for One Hour
snwv: 40 Hz for One Hour
Buy online

Day of Arcane Light
snwv: Day of Arcane Light
Buy online

Live Broadcast Series 4, Oct 5, 2017
snwv: Live Broadcast Series 4, Oct 5, 2017
Buy online

Live Broadcast Series 3, August 17, 2017
snwv: Live Broadcast Series 3, August 17, 2017
Buy online

Live broadcast series 2, July 20, 2017
snwv: Live broadcast series 2, July 20, 2017
Buy online

Live broadcast series 1, July 6, 2017
snwv: Live broadcast series 1, July 6, 2017
Buy online

for Memphis Concrète
snwv: for Memphis Concrète
Buy online

Live at Oscillate: Pittsburgh 2017
snwv: Live at Oscillate: Pittsburgh 2017
Buy online

Live at Thundersnow 2017
snwv: Live at Thundersnow 2017
Buy online

Live, January 28, 2017
snwv: Live, January 28, 2017
Buy online

Interstellar Radio
snwv: Interstellar Radio
Buy online

Howlers
snwv: Howlers
Buy online

Live at Black Forge, January 2, 2016
snwv: Live at Black Forge, January 2, 2016
Buy online

Output
snwv: Output
Buy online

Live, November 5, 2015
snwv: Live, November 5, 2015
Buy online

live at the Garfield Artworks, July 27, 2014
snwv: live at the Garfield Artworks, July 27, 2014
Buy online

Troy
snwv: Troy
Buy online

impulse
snwv: impulse
Buy online

Live at the Thunderbird Cafe, November 9, 2011
Maurice Rickard: Live at the Thunderbird Cafe, November 9, 2011
Buy online

Wave Space, Cleveland OH, September 16, 2011 4?:?34 PM?-?5?:?37 PM
snwv: Wave Space, Cleveland OH, September 16, 2011 4?:?34 PM?-?5?:?37 PM
Buy online

snwv
snwv: snwv
Buy online

Music for Dance
Maurice Rickard: Music for Dance
Buy online

Tell Ya One Thing And Then Some
Maurice Rickard: Tell Ya One Thing And Then Some
$5.00 US; $7.00 World.

Death Pig (Live, July 2, 2003)
Death Pig: Death Pig (Live, July 2, 2003)
$5.00 US; $7.00 World.

Circuits of Steel Tour 2003: Chicago, St. Louis, Muncie
Maurice Rickard: Circuits of Steel Tour 2003: Chicago, St. Louis, Muncie
$5.00 US; $7.00 World.

Guitar Clouds
Maurice Rickard: Guitar Clouds
$5.00 US; $7.00 World.

Lady of Pain: Live, June 2, 2003
The Unindicted Co-conspirators: Lady of Pain: Live, June 2, 2003
$5.00 US; $7.00 World.

Live at the Quiet Storm, November 2, 2002
The Stem Cell Liberation Front: Live at the Quiet Storm, November 2, 2002
$5.00 US; $7.00 World.

Blast
The Stem Cell Liberation Front: Blast
$4.00 US; $6.00 World.

Tell Ya One Thing
Maurice Rickard: Tell Ya One Thing
$3.00 US; $5.00 World.

How to get this music? Head on over to onezero music and get your hands on some downloads.

If you prefer CDRs, multiply the price listed above by the quantity of each CDR you want. You can email the funds to me using PayPal, by clicking on the link below. At the moment, I'm not taking credit cards. Put the following in your email:

Your name
Your mailing address
The quantity of each CDR. (Multiply by the prices above for your total.)

Click here to order.