tag:blogger.com,1999:blog-62428447161283184722024-03-14T20:24:46.021+11:00v i c m o d / blogVICMODhttp://www.blogger.com/profile/09775301054452527945noreply@blogger.comBlogger153125tag:blogger.com,1999:blog-6242844716128318472.post-77545413653981175122016-10-05T14:18:00.001+11:002016-10-05T14:18:43.221+11:00Favourite music releases
<span class="postbody">Here are some of my fav music releases of the year.</span><br />
<span class="postbody"><br />
Takahiro Kawaguchi/Utah Kawasaki - Amorphous Spores
<br />
Patten – Psi
<br />
Surgeon - From Farthest Known Objects
<br />
Stephan Bodzin - Powers Of Ten
<br />
Autechre – Elseq
<br />
Synthi A - Ignition of the Sun
<br />
Anthony Child - Electronic Recordings From Maui Jungle Vol 1
<br />
M.E.S.H - Damaged Merc
<br />
Ciani/ Kaitlin- Sunergy
<br />
Ciani - Buchla Concerts 1975
<br />
Mads Emil Nielsen - Percussion Loops
<br />
Departement D’Education Psychique - Musique Improvisée</span><span class="postbody"><br /></span>VICMODhttp://www.blogger.com/profile/09775301054452527945noreply@blogger.com0tag:blogger.com,1999:blog-6242844716128318472.post-21998792470802070042016-04-20T07:12:00.002+10:002016-04-20T07:12:38.638+10:00Blippoo Box funRob Hordijk's amazing Blippoo Box arrived and I had to have some fun with it (adding distortion).<br />
The stupid manic hands have nothing to do with the sound creation.<br />
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<br />VICMODhttp://www.blogger.com/profile/09775301054452527945noreply@blogger.com0tag:blogger.com,1999:blog-6242844716128318472.post-86305834211670424312016-03-19T10:14:00.000+11:002016-03-19T10:14:21.330+11:00While I wait for a Hordjik Blippoo Box<br />
<br />
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<br />VICMODhttp://www.blogger.com/profile/09775301054452527945noreply@blogger.com0tag:blogger.com,1999:blog-6242844716128318472.post-74657163272034460462016-03-10T07:36:00.000+11:002016-03-10T14:21:36.480+11:005 Electronic Albums you must buyYes its only been 3 years since my last "Fav Albums" report so here goes.<br />
<br />
<b>SYNTHI A - IGNITION OF THE SUN</b> by Future Sound Of London is an amazing Early Electronic romp with, you guessed it the EMS Synthi A. Go check it out.<br />
<a href="http://www.fsoldigital.com/product/synthi-a-ignition-of-the-sun/">http://www.fsoldigital.com/product/synthi-a-ignition-of-the-sun/</a><br />
<br />
<b>ANDY ORTMANN - BUCHLA ON TAPE</b> is a crazy, and also refined workout on the Buchla 200 series modular <a href="https://nihilistrecordings.bandcamp.com/album/buchla-on-tape-nihil-81">https://nihilistrecordings.bandcamp.com/album/buchla-on-tape-nihil-81</a><br />
<br />
<b>DAVID FIRST - ELECTRONIC WORKS 1976-1977</b> is also in the same vein as Ortmann's Buchla workout.<br />
All the tracks from this album are available on his You Tube page <a href="https://www.youtube.com/watch?v=08IYtMfIMhs">https://www.youtube.com/watch?v=08IYtMfIMhs</a><br />
<br />
<b>DONNACHA COSTELLO - STAY PERFECTLY STILL</b> is a collection of slowly evolving ambient works. Donnacha's wepon of choice is the Buchla Music Easel. If you enjoy Alessandro Cortini's Easel workouts on his original Buchla Music Easel you will enjoy this release. <a href="https://donnachacostello.bandcamp.com/album/stay-perfectly-still">https://donnachacostello.bandcamp.com/album/stay-perfectly-still</a><br />
<br />
<b>ANTHONY CHILD - ELECTRONIC RECORDINGS FROM MAUI JUNGLE VOL 1 </b>Hear Surgeon don a Buchla Music Easel in the Jungle. Child brings his unique approach to the Music Easel.<br />
<a href="http://editionsmego.com/release/EMEGO-215" target="_blank">http://editionsmego.com/release/EMEGO-215 </a>VICMODhttp://www.blogger.com/profile/09775301054452527945noreply@blogger.com0tag:blogger.com,1999:blog-6242844716128318472.post-12703449905741809092016-03-10T07:07:00.002+11:002016-03-10T07:07:59.554+11:00VICMOD RECORDS 2016Vicmod records had a 3 year break and will soon be back with new ear candy.VICMODhttp://www.blogger.com/profile/09775301054452527945noreply@blogger.com0tag:blogger.com,1999:blog-6242844716128318472.post-68960352556632420232013-08-15T14:51:00.001+10:002013-08-15T14:51:23.596+10:00VICMOD RECORDS special on Swinburne College Radio tonight 8pm Melbourne Australia time (EST)Swinburne Radio are doing a special on Vicmod Records tonight at 8pm.<br />
Expect to hear avant electronics from the likes of Warren Burt, Richard Lainhart, Cray and his many aliases, White Noise Carousel and many more local and international modular synth heads.<br />
<br />
You can tune in here. <br />
<br />
moon.wavestreamer.com:6254/listen.m3u?sid=1VICMODhttp://www.blogger.com/profile/09775301054452527945noreply@blogger.com0tag:blogger.com,1999:blog-6242844716128318472.post-50853470467265656912013-08-01T18:53:00.004+10:002013-08-01T18:53:44.593+10:0011 August next Vicmod meet<span style="font-size: x-large;">11 August next Vicmod meet</span>VICMODhttp://www.blogger.com/profile/09775301054452527945noreply@blogger.com0tag:blogger.com,1999:blog-6242844716128318472.post-62547410612005277432013-07-31T08:39:00.003+10:002013-07-31T08:39:51.612+10:00Cray Delta Whan art workThe next Cray release DELTA WHAN will be released in September 2013 on Rocket Machine Tapes. Here is the artwork.<br />
<br />
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<a href="http://1.bp.blogspot.com/-4s8zZ9qghaE/UfhAhjNHVMI/AAAAAAAACBM/adgajpVuaAc/s1600/RM22_version2.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="377" src="https://lh3.ggpht.com/-4s8zZ9qghaE/UfhAhjNHVMI/AAAAAAAACBM/adgajpVuaAc/s1600/RM22_version2.png" width="640" /></a></div>
<br />VICMODhttp://www.blogger.com/profile/09775301054452527945noreply@blogger.com0tag:blogger.com,1999:blog-6242844716128318472.post-24208978435990774812013-05-15T20:29:00.002+10:002013-05-15T20:29:44.880+10:00Cray - Digest 54 review in Vital Weekly<span>CRAY – DIGEST 54 (cassette by SicSic Tapes)</span><br /><span>'Digest
54' is a stellar and somewhat interstellar tape from Ross Healy's Cray
project -- one which consistently supplies variegated textures and
timbres, as well as an eye for the dramatic. Healy's pedigree as a
leftfield electronic musician (including his time in EBM act This
Digital Ocean, and a solo 2001 album for legendary weirdo-electro
outpost BiP_HOp Records) comes through in the way these tracks grip you
by the nether-regions and tug you in. Here he's laid down a collection
of sound experiments, each side a fertile bed of treats sketched out by
synthesizers. The beeps and burbles include Warp-like chords (“Delva,”
“Heek”), slack zone-out audioscapes (“Corrupt,” “Un8d”), and the sultry
tones of R2D2 hopped up on goofballs (“Premble”). “Ugly Martian,”
meanwhile, takes the album crown with its walloping eighties crime-wave
bass loop. The moments that draw into the background are pushed into the
periphery mainly by the fast grip of the tape's more</span><br /><span>toe-curling
contingent; but these less immediate tracks are still, generally,
worthy kicks at the can: the curious combination of liquid synth-slosh
and throbbing powerline-glow on “Dabuda,” the dreary neon orbs that
populate “Basquiat,” and so forth. There's a lot to process here, so
much so that one is tempted to fault Healy for this record's disjointed
structure. He skitters from idea to idea, seemingly out of a compulsion
to document each of his distinct approaches to sound. Perhaps we can pin
this on Healy's background in electronic music: listen to some of the
stuff Rephlex was putting out a decade or so ago, and you'll encounter
the same sense of things being thrown at the wall to see what sticks.
But the key, as always, is the fact that Healy doesn't just smear turds
on his canvas -- these tracks are legitimate sound-niblets, each with
something compelling to share. Only eighty copies of this tape exist on
this planet, so you're advised to act fast. (MT)</span><br /><span>Address: <a href="http://www.sicsic.de/">http://www.sicsic.de</a></span>VICMODhttp://www.blogger.com/profile/09775301054452527945noreply@blogger.com0tag:blogger.com,1999:blog-6242844716128318472.post-37624884221373766292013-04-17T07:52:00.001+10:002013-04-17T07:52:22.945+10:00last few copies of new Cray release You can grab the last few copies of the new Cray album on SicSic here<br />
http://www.sicsic.de/sicsic051/<br />
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<a href="http://2.bp.blogspot.com/-UwXiakDNpTU/UW3IBQj6lqI/AAAAAAAABt8/f0yd1rBHeWU/s1600/cray_full.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh3.ggpht.com/-UwXiakDNpTU/UW3IBQj6lqI/AAAAAAAABt8/f0yd1rBHeWU/s1600/cray_full.png" /></a></div>
<br />VICMODhttp://www.blogger.com/profile/09775301054452527945noreply@blogger.com0tag:blogger.com,1999:blog-6242844716128318472.post-72493667285752450792013-03-29T10:22:00.003+11:002013-03-29T10:22:23.915+11:00Free 44 minute Cray album for EasterCray has just put up a free album on the mighty Buchla modular.<br />
You will hear 44 minutes ov avat Buchla electronics. <br />
<br />
<a href="https://soundcloud.com/cray5656/cray-estr" target="_blank">https://soundcloud.com/cray5656/cray-estr</a>VICMODhttp://www.blogger.com/profile/09775301054452527945noreply@blogger.com0tag:blogger.com,1999:blog-6242844716128318472.post-45971531025396753542013-03-29T10:19:00.003+11:002013-03-29T10:19:10.244+11:00join tumbler Its In My Brain NowFor all things modular, technology, nature, art and science look no further than<br />
<a href="http://cray5656.tumblr.com/" target="_blank">http://cray5656.tumblr.com/</a><br />
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<a href="http://1.bp.blogspot.com/-AdfMPoD657Y/UVTP2EuK9-I/AAAAAAAABts/KM6ZosPLX4A/s1600/Screenshot_29_03_13_10_17_AM.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://lh3.ggpht.com/-AdfMPoD657Y/UVTP2EuK9-I/AAAAAAAABts/KM6ZosPLX4A/s1600/Screenshot_29_03_13_10_17_AM.jpg" width="600" /></a></div>
<br />VICMODhttp://www.blogger.com/profile/09775301054452527945noreply@blogger.com0tag:blogger.com,1999:blog-6242844716128318472.post-18472049974426567482013-02-28T18:18:00.002+11:002013-02-28T18:18:48.954+11:00VICMOD Records free or donationVICMOD Records, the home of Avant Electronics, are now offering free
downloads in any digital format your playback needs require. <br />
They of course appreciate any donations you are able to contribute so
VICMOD and the artists are able to continue to bring you the worlds
finest analog electronic abstractions.<br />
<br />
You will here
experimental sounds emanating from modular synths like the Buchla, Serge
and Euro modulars, Blippoo Boxes and much more form Artists all over
the globe.<br />
<br />
<a href="http://www.vicmod.net/">www.vicmod.net</a>VICMODhttp://www.blogger.com/profile/09775301054452527945noreply@blogger.com0tag:blogger.com,1999:blog-6242844716128318472.post-48560327903055016312013-02-28T10:32:00.003+11:002013-02-28T10:43:27.349+11:00Richard Scott - Gurgle, Sputter, Rungle: Blippoo Box solos <h2 class="trackTitle" itemprop="name" style="text-align: center;">
Gurgle, Sputter, Rungle: </h2>
<h2 class="trackTitle" itemprop="name" style="text-align: center;">
Blippoo Box solos by Richard Scott</h2>
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<a href="http://3.bp.blogspot.com/-HFm_3yL80_U/US6XDS6N6qI/AAAAAAAABrM/0enLGuWm2UM/s1600/3928348437-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://lh3.ggpht.com/-HFm_3yL80_U/US6XDS6N6qI/AAAAAAAABrM/0enLGuWm2UM/s1600/3928348437-1.jpg" width="320" /></a></div>
Amazing new release from Richard Scott. If you love abstract electronics this is for you!<br />
This album shows some of the ways Richard uses this wonderfully creative little
synthesizer more or less as a solo improvising instrument The tracks
are all recorded live without any subsequent overdubs or edits.
<br />
<br />
Tracks 2-6 features the Blippoo Box only. 1 and 10 feature a Bugbrand
Postcard Weevil processed through the Blipppo Box. 7-9 feature the
Blippoo Box controlling a small analogue modular system, including an
Ekdahl Moisturizer Spring Reverberation unit.
<br />
<br />
Recorded at the Metal Box Factory, Berlin, June 2010 – Jan 2013. Mastered by the Boom Doctor.<br />
<a href="http://vicmodrichardscott.bandcamp.com/album/gurgle-sputter-rungle-blippoo-box-solos" target="_blank">http://vicmodrichardscott.bandcamp.com/album/gurgle-sputter-rungle-blippoo-box-solos</a><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img border="0" height="186" src="https://lh3.ggpht.com/-UgTwacehTvU/US6ZyYTWhUI/AAAAAAAABrU/zecmX44YTmE/s1600/Screenshot_28_02_13_10_41_AM-3.jpg" style="margin-left: auto; margin-right: auto;" width="320" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">click link <a href="http://vimeo.com/60691929" target="_blank">http://vimeo.com/60691929</a></td></tr>
</tbody></table>
<br /><h2 class="trackTitle" itemprop="name">
</h2>
VICMODhttp://www.blogger.com/profile/09775301054452527945noreply@blogger.com0tag:blogger.com,1999:blog-6242844716128318472.post-85892496571833738502013-02-27T19:05:00.001+11:002013-02-27T19:08:20.285+11:00Some of my favourite computer music records<div style="text-align: center;">
<b>Some of my favourite computer music records from before the turn of the century.....</b></div>
<div style="text-align: center;">
Curtis Roads - Point Line Cloud (Asphodel)</div>
<div style="text-align: center;">
John Chowning - John Chowning (wergo)</div>
<div style="text-align: center;">
Herbert Brun- Sawdust (EMF)</div>
<div style="text-align: center;">
Farmers Manual - No Back Up (Mego)</div>
<div style="text-align: center;">
Pimmon - Assembler (Fallt)<br />
Charles Dodge - <span style="font-size: small;"><span itemprop="name">Any Resemblance Is Purely Coincidental (New Albion)</span></span><br />
</div>
<div style="text-align: center;">
Hecker - ISO Chall (Mego)</div>
<div style="text-align: center;">
Xenakis - Electronic Music (EMF)</div>
<div style="text-align: center;">
Pita - 7 Tons For Free (Mego)</div>
<div style="text-align: center;">
Tetsu Inoue - Fragment Dots (Tzadik)</div>
<div style="text-align: center;">
Kim Cascone - Cathodeflower (Ritornell) </div>
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/988jPjs1gao?feature=player_embedded' frameborder='0'></iframe><object class="BLOGGER-youtube-video" classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0" data-thumbnail-src="http://2.gvt0.com/vi/a_BAwf9s_Ho/0.jpg" height="266" width="320"><param name="movie" value="http://www.youtube.com/v/a_BAwf9s_Ho&fs=1&source=uds" /><param name="bgcolor" value="#FFFFFF" /><param name="allowFullScreen" value="true" /><embed width="320" height="266" src="http://www.youtube.com/v/a_BAwf9s_Ho&fs=1&source=uds" type="application/x-shockwave-flash" allowfullscreen="true"></embed></object></div>
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<br />VICMODhttp://www.blogger.com/profile/09775301054452527945noreply@blogger.com0tag:blogger.com,1999:blog-6242844716128318472.post-46474941506093010172013-02-27T17:40:00.002+11:002013-02-27T18:14:07.171+11:00Composing With Process : Perspectives on Generative and Systems MusicI have been really enjoying these radio shows curated by Mark Fell and Joe Gilmore.<br />
<b>Composing With Process : Perspectives on Generative and Systems Music</b> is the name of the program and it is exactly what it is about.<br />
If you love the more esoteric studies of electronic music, as I do, you will really enjoy listening to this stuff.<br />
So far they have created 8 podcasts with extras that usually have exclusive performances by the likes of Mark Fell and Florian Hecker.<br />
<a href="http://rwm.macba.cat/en/composingwithprocess_tag" target="_blank">http://rwm.macba.cat/en/composingwithprocess_tag</a><br />
<br />
Listening to all of this reminds me of a time, just before the turn of the century, when Microsound was really happening and my awareness of artists like Xenakis, Curtis Roads, Trevor Wishart, Herbert Brun, Pierre Henry, Parmegiani, Tod Dockstader, Kim Cascone and the original Mego records artists Fennesz, Pita, Farmers Manual etc (before they became Editions Mego) was amazing and each week there was some brilliant music to purchase, take home and devour.VICMODhttp://www.blogger.com/profile/09775301054452527945noreply@blogger.com0tag:blogger.com,1999:blog-6242844716128318472.post-14937759345722663842013-02-08T07:50:00.002+11:002013-02-08T07:50:25.116+11:00Cray live set 6 Feb 2013 Bendigo Undue NoiseCray live @ Undue Noise 6 Feb 2013 Bendigo.<br />
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I have new releases coming out on Sicsic Tapes (Germany) and Rocket Machine Tapes (Australia) very soon.<br />
<br />
Do also check out the Cray web page with discog vids etc.<br />
http://cray5656.wix.com/cray<br />
<br />
plus VICMOD news<br />
<pre class="moz-signature" cols="72">VICMOD Records http://www.vicmod.net
VICMOD Blog http://vicmod.blogspot.com.au/</pre>
VICMODhttp://www.blogger.com/profile/09775301054452527945noreply@blogger.com0tag:blogger.com,1999:blog-6242844716128318472.post-30500517306345926032013-02-03T15:50:00.002+11:002013-02-03T15:50:40.350+11:00Cray web page createdI have decided its time for a Cray web page<br />
http://cray5656.wix.com/cray<br />
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VICMODhttp://www.blogger.com/profile/09775301054452527945noreply@blogger.com0tag:blogger.com,1999:blog-6242844716128318472.post-77389034795640793412013-01-16T07:50:00.000+11:002013-01-16T07:50:52.630+11:00Richard Lainhart Life As A MasterpieceExcellent Richard Lainhart article<br />
<a href="http://www.tokafi.com/news/richard-lainhart-life-as-a-masterpiece/">http://www.tokafi.com/news/richard-lainhart-life-as-a-masterpiece/</a>VICMODhttp://www.blogger.com/profile/09775301054452527945noreply@blogger.com0tag:blogger.com,1999:blog-6242844716128318472.post-79193975540215206412013-01-15T11:24:00.001+11:002013-01-15T11:26:25.767+11:00Graeme Gerrard early worksWe are pleased to announce <br />
<br />
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<br />
<b>Graeme Gerrard</b><br />
Early Pieces<br />
VMDL21<br />
<a href="http://www.vicmod.net/artists/Graeme%20Gerrard/Graeme%20Gerrard.html">http://www.vicmod.net/artists/Graeme%20Gerrard/Graeme%20Gerrard.html</a><br />
<br />
<br />
Description:<br />
<b>Proportions</b> (1979)<br />
This is a “tape piece”. It uses 11 lengths of audio tape that are in the proportion of 1.059463:1 (or<img height="23" src="http://www.vicmod.net/images/clip_image002.png" width="27" />) which is the proportion used in Equal Temperament tuning of adjacent semitones.<br />
I cut lengths of tape that were recordings of white noise, and
rearranged them into an order or “set” that had interesting mathematical
and musical properties, and interleaved these with recordings of
silence, (blank tape), that were a kind of “inverse” of that duration
set. This scheme was used to create the formal design of this short
work.<br />
The other sound used is a cluster of chromatic sine tones transposed to
different frequency ranges. I made a loop of the noise tape, which is
one of the main sounds in the piece. The piece begins with this loop,
which is played at faster and faster speeds to form the first section.<br />
I made a number of tracks of these sounds, using effects such as
flanging, chorusing and reverberation, and mixed them while preserving
the temporal structure outlined above.<br />
<br />
<b>Discourse (1981)</b><br />
<br />
This piece contrasts sounds generated by an analogue synthesiser (Serge
Tcherepnin modular synth) with a digital percussion algorithm.<br />
<br />
<b>Passing Bright Mirror (1991)</b><br />
<br />
Using various programs I had written, I generated seven scores of MIDI
data which I synthesised using a mixture of pitched and percussion
sounds. I mixed these sections in different combinations and hand
edited the result. Originally this piece was about 45 minutes long. I
have cut it down and re-edited it several times for different events,
including to accompany live performance painting in Bologna, Italy.<br />
<br />
<b>Birdbrain (extract from Think Out Loud) (1990)</b><br />
<br />
This piece is made from samples of birdcalls I recorded at my home in
Healesville, Victoria. It focused on spatial manipulation of the
sounds. In live performance, as <i>Think Out Loud</i>, it used an additional 4 loudspeakers swung overhead by people using ropes about 2m in length.<br />
<br />
<b>Anistropy (Lumps in the Gravity)</b><br />
<br />
This piece was largely made using a program that generated fractal
melodies as MIDI data. It uses a synthesised digital jazz ensemble.
The main idea was to bring random elements into orderly clusters, then
allow them to drift apart into sparser, apparently random gestures.
The title was a mistake – it should be Anisotropy, but at the time it
appealed to me to leave it stand.<br />
<br />
<b>Streams/Groups (1981)</b><br />
<br />
This piece was realised on the Serge Tcherepnin modular synthesiser. I
was experimenting with how sequences of notes formed perceptual
groups, and melodic streams, based on octave placement and emphasis.<br />
<br />
<b>Variations (1982)</b><br />
<br />
This piece is a digital realisation of a technique used in bell
ringing called Plain Bob Minor. It is a way of changing the order in
which bells are rung, by exchanging the order of pairs of bells, until
the order completes a cycle and returns to the original. I developed a
kind of pitched percussive algorithm to synthesise the sounds.<br />
<br />
<b>COMPOST (1983)</b><br />
<br />
This was the first piece that was generated by a composing
program I wrote in 1983-5, called COMPOST. It began as a program that
distributed notes in a stochastic manner, generating a score for
digital synthesis, in this case using frequency modulation techniques
to achieve complex spectra. This version was quite primitive and I had
to run the program several times to create sections of the score.<br />
<b>Slang (1980)</b><br />
<br />
I made this piece on the Serge synthesiser around the same time
as Streams/Groups. It was performed live at the Adelaide Fringe
Festival in 1980 with trumpet and tenor saxophone.<br />
<br />
<b>Strings of Token Strings (1984)</b><br />
<br />
This piece was generated by a later version of the COMPOST
program. By this time COMPOST was more oriented towards manipulating
structural elements in a composition, using transformational grammar
techniques. The sounds themselves were synthesised using a digital
string algorithm that incorporated many elements of real string
playing.VICMODhttp://www.blogger.com/profile/09775301054452527945noreply@blogger.com0tag:blogger.com,1999:blog-6242844716128318472.post-30391337370319328462012-12-09T07:58:00.001+11:002012-12-09T08:04:44.281+11:00End of year listening<div style="text-align: center;">
Another amazing year of listening and re-listening to reissues. </div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
Keith Fullerton Whitman and VICMOD ENS - Live improv set</div>
<div style="text-align: center;">
Laurie Spiegel - The Expanding Universe 2CD expanded version (Unseen Worlds)</div>
<div style="text-align: center;">
The Putney - The Putney (Fax)</div>
<div style="text-align: center;">
Namlook I - III (Fax)</div>
<div style="text-align: center;">
Yeast Culture - IYS reissue (Art of Life)</div>
<div style="text-align: center;">
Eleh - Retreat, Return, Repose 3 CD reissue (Important)</div>
<div style="text-align: center;">
Hecker - Triadex Muse Treks</div>
<div style="text-align: center;">
Suzanne Ciani- Voices Of Packaged Souls - (Dead- Cert)</div>
<div style="text-align: center;">
Roland Kayn - Marko I-III (Colosseum)</div>
<div style="text-align: center;">
Public Image Ltd - Metal Box (Virgin)</div>
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VICMODhttp://www.blogger.com/profile/09775301054452527945noreply@blogger.com0tag:blogger.com,1999:blog-6242844716128318472.post-42163473191267370312012-10-17T00:00:00.001+11:002012-10-17T00:01:38.138+11:00<span style="font-size: small;">New release on VICMOD <span style="font-size: small;">Records <a href="http://www.vicmod.net/" target="_blank">http://www.vicmod.net</a></span></span><br />
<br />
<u><b><span style="font-size: small;">Warren Burt</span><span style="font-size: small;"><span style="font-size: small;"> - </span>Six Preludes and Six Postludes to a Meeting with the Giant Murray Cod</span></b></u><br />
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<br />
<h2 class="trackTitle" itemprop="name">
<span style="font-size: small;"><span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-weight: normal;">Notes for “Six Preludes and Six Postludes to A Meeting With the Giant Murray Cod” by Warren Burt
<br />
This series of pieces was requested by Ross Healy for release on his
VicMod label late in 2011. Since VicMod is a group that builds their
own analogue synthesizers, I thought it would be only appropriate if I
similarly restricted myself to one particular set of resources, as
happens when one works with an analogue synthesizer, and try to get the
most I could out of it. For the project I chose Martin Fay’s Vaz
Modular softsynth, which I was very familiar with, and which Martin has
recently expanded to include a number of new modules, some of which are
modelled on older Serge and Buchla analogue modules. I decided I would
only work with Vaz, if possible, returning to my many years of working
with analogue synthesizers, both composing with them, and building them.
<br />
Starting in 1968, when I began working with the Moog, I subsequently
went on to work with Buchla, EMS, and Serge analogue synthesizers, among
others, as well as building my own machines. Some of these can be seen
on my <a href="http://www.warrenburt.com/">www.warrenburt.com</a>
website. I hadn’t worked exclusively in the analogue realm (or only in
the virtual analogue realm) in many years. Since Vaz allows unlimited
microtonal possibilities, I thought I should also return to an interest
of mine, which I’d been ignoring of late, microtonality. In 2007, I’d
completed a PhD on the subject, and had developed a catalogue of about
167 new microtonal scales based on the work of the microtonal theorist
Ervin Wilson. PhD burnout must have set in, because I had hardly used
any of those scales since. Obviously, after 5 years, it was time to
start working seriously with them. Additionally, working with bare
analogue timbres once more gave me the challenge of developing pleasing
timbres, and a sensible progression of timbres with which to play these
scales.
<br />
After all these years, the question still was: What is the
compositional potential of these modules, and how can they be combined
together to make interesting structure, interesting patterns. So my
quest in these pieces was threefold: 1) to develop interesting musical
structures using the resources supplied by Vaz Modular (all of them
automated and algorithmic, none of them using a keyboard in any way); 2)
using some of the microtonal scales from my “Triangle Scales Microtonal
Catalogue” of 2007; 3) with electronic timbres that had some amount of
life and interest to them.
<br />
The first six pieces (the Preludes) use the Vaz sequencer, which is
modelled on old analogue Moog or Buchla style sequencers, but with a lot
more possibilities for layering and structuring. It was my self-set
challenge to see how far I could push those sequencers, especially using
them for playing different sub-sets of the six just-intonation scales
which were used for these pieces, one scale per Prelude. Dividing the
just-intonation scales up into subsets and alternating between them
gives a sense of harmonic progression to the pieces.
<br />
The last six pieces (the Postludes) use some of the many chaotic and
quasi-random information generating modules in Vaz to provide structure
and melodies, putting them through the Quantizer module which renders
them into a selected microtonal scale. In this case, the 6
quasi-Pythagorean scales are also derived from Wilson’s work. That may
sound complicated, but what it basically means is that these scales are
the prototypes, or templates upon which all of the other just
intonation scales in my catalogue are based.
<br />
The use of these scales produced a much more harmonious sounding music
than I’ve been composing lately, where I’ve been working with
noisebands, or found object timbres based on extreme electronic
modifications of real-world sounds, or graphics to sound conversions of
complex images. It was fun thinking harmonically again, and discovering
just how consonant many of the scales in my catalogue were.
<br />
Sitting between these two sets of six pieces, like a large fish, is A Meeting with the Giant Murray Cod.
<br />
Shortly after I finished the first set of six pieces, we visited the
Giant Murray Cod in Swan Hill, Victoria. And after we visited the Cod, I
realised that I could make a second set of six pieces, so these pieces
really ARE preludes and postludes to the meeting itself.
<br />
The score to A Meeting with the Giant Murray Cod is indeed a photo of me
meeting the Murray Cod turned into sound with Nicolas Fournel’s
AudioPaint. The photo was just processed a bit (mostly colour scaling),
and then used straight. The scale for the timbre of the piece is
another Erv Wilson just intonation scale, but it’s played using a sample
of a harp arpeggio in 11 tone equal temperament. The intersection of
these 2 scales gives the piece its piquancy. Plus, the vocal phrase in
the exact centre of the piece is in 12-tone equal temperament, the only
time in the entire CD that that tuning is used.
<br />
All the pieces consist of algorithmic automated processes. I composed
by a patient process of setting up self-performing patches and testing
how they behaved in combination with other patches. The only other
program used was John Dunn's SoftStep, which was used to make a simple
chord selection switch for the Preludes, and a single on-off switch for
all the voices in the Postludes. The composing mostly happened on
V/Line, Victorian Regional Trains (how appropriate for preludes and
postludes to a visit to Swan Hill) using an ASUS Netbook and a pair of
Sony noise-cancelling headphones. My work and teaching schedule was so
crowded during the first half of 2012 that the only time I could
actually compose, undisturbed, in private, was during morning and
evening commutes on Victorian regional trains. Post production of the
pieces only involved editing the beginning and ending of the pieces in
Cool Edit, and deciding which take of a piece to use. For the most
part, the pieces are heard in the same form that they were generated by
the computer, straight off the machine.
<br />
For my hearing, the final result is more melodious and harmonious than
much of my usual recent work, and I hope this produces an interesting
experience for the listener, especially the VicMod listener; exploring
what kinds of structures and harmonies are inherent in these materials
and this analogue - or virtual analogue – technology, and finding what
kind of music I could extract from these processes. Also, another
factor which is interesting for me, but which may not be hearable by the
listener, is the exploring of what kinds of music result from working
in the very contained, private, yet totally public world of a crowded
commuter train. In my listening, I can hear this most clearly in the
very first Prelude, which to me has the feel of a very rushed commuter.
It was only later in the process that I managed to slow myself down,
and begin to compose in a more relaxed manner, sinking into a greater
sense of harmony with the railway environment.
<br />
2 June 2012 Daylesford, Vic. Warren Burt</span></span></span> </span></h2>
VICMODhttp://www.blogger.com/profile/09775301054452527945noreply@blogger.com0tag:blogger.com,1999:blog-6242844716128318472.post-62996511709410614732012-10-16T07:57:00.005+11:002012-10-17T06:54:54.093+11:00Keith Fullerton Whitman & VICMOD ENSemble<div style="text-align: center;">
Keith Fullerton Whitman joined us at VICMOD. We jamed for a few hours.</div>
<br />
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<br />VICMODhttp://www.blogger.com/profile/09775301054452527945noreply@blogger.com0tag:blogger.com,1999:blog-6242844716128318472.post-81586119897160817032012-09-30T17:45:00.000+10:002012-09-30T17:45:05.870+10:00The future is looking bright<div style="text-align: center;">
The next 4 releases for VICMOD are locked in</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
OCTOBER 2012 - WARREN BURT</div>
<div style="text-align: center;">
NOVEMBER - LU KATAVIST</div>
<div style="text-align: center;">
DECEMBER - GRAEME GERRARD</div>
<div style="text-align: center;">
JAN 2013 - RICHARD SCOTT</div>
VICMODhttp://www.blogger.com/profile/09775301054452527945noreply@blogger.com0tag:blogger.com,1999:blog-6242844716128318472.post-15040092540788785052012-09-30T17:41:00.002+10:002012-10-06T09:38:20.526+10:007 October talk about Modular synths and VICMOD<span class="Apple-style-span" style="border-collapse: collapse; color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 14px;"><b>SUNDAY 7th </b></span><span class="Apple-style-span" style="border-collapse: collapse; color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 14px;"><b>OCTOBER</b></span><span class="Apple-style-span" style="border-collapse: collapse; color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 14px;">---->>>Open
LABs (nee Patching Circle) will explore the wonderful world of creative
electronics and programming. It is a space where artists, musicians,
engineers, performers, and designers, hermits, freaks and geeks can come
together and share their work and creative passions.<br /><br />Each Open
LAB will begin with talks from fellow guests that seek to share their
work with the group, and then end in an all out free-form open
discussion and hands on tinkering space where guests can present a
finished, or unfinished, work, seek collaborations, s</span><span class="Apple-style-span" style="border-collapse: collapse; color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 14px;">eek peer review, or make a call out to the community to help troubleshoot a problem they are having.</span><br />
<span class="Apple-style-span" style="border-collapse: collapse; color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 14px;"><br /></span>
<span class="Apple-style-span" style="border-collapse: collapse; color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 14px;">So bring whatever current project you may be working on, or simply show up and share/teach/learn a new world of electronic art!</span><br />
<span class="Apple-style-span" style="border-collapse: collapse; color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 14px;"><br /></span>
<span class="Apple-style-span" style="border-collapse: collapse; color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 14px;">Featuring talks from:</span><br />
<span class="Apple-style-span" style="border-collapse: collapse; color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 14px;">Ross Healy- Modular Synth extraordinaire and one of the founding members of VICMOD Records and the Vicmod community (<a href="http://www.facebook.com/l.php?u=http%3A%2F%2Fvicmod.blogspot.com.au%2F&h=CAQEVIY_0&s=1" rel="nofollow nofollow" style="color: #3b5998; cursor: pointer; text-decoration: none;" target="_blank">http://<wbr></wbr><span class="word_break" style="display: inline-block;"></span>vicmod.blogspot.com.au/</a>). See him here- <a href="http://www.facebook.com/l.php?u=https%3A%2F%2Fvimeo.com%2F42837569&h=OAQGFVW_O&s=1" rel="nofollow nofollow" style="color: #3b5998; cursor: pointer; text-decoration: none;" target="_blank">https://vimeo.com/42837569</a></span><br />
<span class="Apple-style-span" style="border-collapse: collapse; color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 14px;">>>>>>>>></span><br />
<span class="Apple-style-span" style="border-collapse: collapse; color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 14px;">Chris
Vik and Brad Hammond- What do you get when you use the interactive
controls of the XBOX Kinect with audio and 3d graphical manipulation?
You get the crazy brainchild of Chris Vik and Brad Hammonds Ethno Tekh (<a href="http://www.facebook.com/l.php?u=http%3A%2F%2Fethnotekh.com%2F&h=DAQHzFxVm&s=1" rel="nofollow nofollow" style="color: #3b5998; cursor: pointer; text-decoration: none;" target="_blank">http://ethnotekh.com/</a>) watch this for more info- <a href="http://www.youtube.com/watch?feature=player_embedded&v=NyeNOutIzdc" rel="nofollow nofollow" style="color: #3b5998; cursor: pointer; text-decoration: none;" target="_blank">http://www.youtube.com/<wbr></wbr><span class="word_break" style="display: inline-block;"></span>watch?feature=player_embedd<wbr></wbr><span class="word_break" style="display: inline-block;"></span>ed&v=NyeNOutIzdc</a></span><br />
<span class="Apple-style-span" style="border-collapse: collapse; color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 14px;">>>>></span><br />
<span class="Apple-style-span" style="border-collapse: collapse; color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 14px;">Free Event</span><br />
<span class="Apple-style-span" style="border-collapse: collapse; color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 14px;">Date and time: Sunday 7th of October, 2-5pm</span><br />
<span class="Apple-style-span" style="border-collapse: collapse; color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 14px;">Venue: Rear entrance via carpark Media Lab Melbourne 136a Cromwell Street Collingwood- [see here: <a href="http://goo.gl/maps/caaSc" rel="nofollow nofollow" style="color: #3b5998; cursor: pointer; text-decoration: none;" target="_blank">http://goo.gl/maps/caaSc</a>]</span>VICMODhttp://www.blogger.com/profile/09775301054452527945noreply@blogger.com0