Plus 94 Records

The new year is (2026) coming and I hope everyone dreams come true and It will. So this is the best thing I learned in 2025 . The idea came to me when i listening to Pauline Oliveros ideas. She did the exact same thing putting microphone outside the window and listening. And influenced from John Cage  .   So this is kind of updated version. We all have earbud, headphone or handfree in our hand with smartphone. First you have to download a app called bandlab   So after downloading the app follow below steps in the image  ○ Open bandlab ○ Select Voice/Audio track. ○ Turn on the Monitoring icon. ○ Now you can hear the live audio via your headphone.  ○ There is latency because of Bluetooth. If you can use wired headphone the latency will decrease.  ○ add effects to incoming audio like delay ,reverb, pitch shift etc..  ○ you begin to hear world differently. You can change unwanted hum in to something musical.  ○ keep volume level low for saf...

He even proposed that composers should write double scores. one for sound, one for color. Rimington did not claim to have completed this new art. He described his work as laying the first stone. Color Music, like early music itself, would require many minds and many years to develop. Born in England in 1854 and trained as a painter, Rimington approached color not as decoration but as a primary artistic material. His ambition was not to improve painting, lighting, or stage effects, but to establish something more radical: a pure art of color, freed from fixed form and placed under deliberate human control. In 1880s, working inside his own house, he constructed what became known as the Color Organ an instrument resembling a church organ, but producing light instead of sound. Keys, pedals, lenses, prisms, and filters allowed color to be played, faded, sustained, and combined in time. For Rimington, this was not spectacle. It was instrumentation. Rimington’s central claim was simple...

Translation of Edgard Varèse 1959 interview Interviewer (Jean Valran): Good evening, ladies and gentlemen. It is with extreme pleasure that we present to you tonight on Premier Plan Edgard Varèse, born in Paris in 1895, a student of Widor, Roussel and d’Indy, but above all a student of his own tenacity in rethinking musical art in a way that integrates and orders the entire sonic universe. Married to an American woman of letters, he came to settle in the United States during the First World War, where he still lives. Jean Valran is interviewing him in the garden of his home in Greenwich Village, New York. Interviewer: why did you come to settle in America? Edgard Varèse: Well, I had left all my things in Germany and there was nothing there ,no work to be found. You had to go somewhere, so I came here. Interviewer: And why North America rather than South America? Varèse: Because there was activity here: there were already established orchestras. There was a ...