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technical and other notes about 'streams':

each track has its own history of origin and development.

what all of them do have in common is that they are based on recordings of an electric guitar, with often quite unusual playing techniques, manual gestures and mechanical preparations/installations. sometimes there was no amplifier nor loudspeaker involved (very quiet), sometimes there were several of them (very loud). in many cases there were analogue processors in the chain of the electrical signal - devices for ring modulation, voltage controlled filtering, valve distortion, dynamic compression, resonance, phasing and such.

post-production was 'digital', hard disk - based, virtual studio-like, but also utilizing non-real-time computer music tools like spectral mutation, granular synthesis, convolution, modulation synthesis, waveshaping - plus some real-time-action with plug-ins of both pedestrian and exotic origin, primitive 'stomp-boxes' in the signal path again, physical fader riding, layering, switching, alteration and degradation of the basic sonic material...there is some exceptional sequencing, but frequent spatial and/or electronic feedback.

most often the linearity of the underlying improvisation was left intact in the process. the gestural information shines through or is obvious.

each track is consisisting only of material of the corresponding recording situation (be it microphone, line-in, or both) - there is no addition of 'found' or 'concrète' material - everything was already there, but possibly hidden in a subliminal area.

the content of this music is its sound itself. there are no secrets. you are invited to read it in your own personal way.

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