Alroy Road Tracks
Alroy Road Tracks is an extended play credited to "The Duke Of Harringay", an alias for Squarepusher. It was released on 12" vinyl the second release on the Spymania label. All tracks were released on the Squarepusher compilation Burningn'n Tree. Side A "Central Line" - 3:57 "Sarcacid Part 1" - 5:56 "Sarcacid Part 2" - 5:05Side B "Nux Vomica" - 7:57 "Toast For Hardy" - 9:23 Discogs entry
Shobaleader One: d'Demonstrator
Shobaleader One: d'Demonstrator is a 2010 album from Squarepusher and his band Shobaleader One
Electronic music is music that employs electronic musical instruments, digital instruments and circuitry-based music technology. In general, a distinction can be made between sound produced using electromechanical means, that produced using electronics only. Electromechanical instruments include mechanical elements, such as strings, so on, electric elements, such as magnetic pickups, power amplifiers and loudspeakers. Examples of electromechanical sound producing devices include the telharmonium, Hammond organ, the electric guitar, which are made loud enough for performers and audiences to hear with an instrument amplifier and speaker cabinet. Pure electronic instruments do not have vibrating strings, hammers, or other sound-producing mechanisms. Devices such as the theremin and computer can produce electronic sounds; the first electronic devices for performing music were developed at the end of the 19th century, shortly afterward Italian futurists explored sounds that had not been considered musical.
During the 1920s and 1930s, electronic instruments were introduced and the first compositions for electronic instruments were made. By the 1940s, magnetic audio tape allowed musicians to tape sounds and modify them by changing the tape speed or direction, leading to the development of electroacoustic tape music in the 1940s, in Egypt and France. Musique concrète, created in Paris in 1948, was based on editing together recorded fragments of natural and industrial sounds. Music produced from electronic generators was first produced in Germany in 1953. Electronic music was created in Japan and the United States beginning in the 1950s. An important new development was the advent of computers to compose music. Algorithmic composition with computers was first demonstrated in the 1950s. In the 1960s, live electronics were pioneered in America and Europe, Japanese electronic musical instruments began influencing the music industry, Jamaican dub music emerged as a form of popular electronic music. In the early 1970s, the monophonic Minimoog synthesizer and Japanese drum machines helped popularize synthesized electronic music.
In the 1970s, electronic music began having a significant influence on popular music, with the adoption of polyphonic synthesizers, electronic drums, drum machines, turntables, through the emergence of genres such as disco, new wave, synth-pop, hip hop and EDM. In the 1980s, electronic music became more dominant in popular music, with a greater reliance on synthesizers, the adoption of programmable drum machines such as the Roland TR-808 and bass synthesizers such as the TB-303. In the early 1980s, digital technologies for synthesizers including digital synthesizers such as the Yamaha DX7 were popularized, a group of musicians and music merchants developed the Musical Instrument Digital Interface. Electronically produced music became prevalent in the popular domain by the 1990s, because of the advent of affordable music technology. Contemporary electronic music includes many varieties and ranges from experimental art music to popular forms such as electronic dance music. Today, pop electronic music is most recognizable in its 4/4 form and more connected with the mainstream culture as opposed to its preceding forms which were specialized to niche markets.
At the turn of the 20th century, experimentation with emerging electronics led to the first electronic musical instruments. These initial inventions were not sold, but were instead used in demonstrations and public performances; the audiences were presented with reproductions of existing music instead of new compositions for the instruments. While some were considered novelties and produced simple tones, the Telharmonium synthesized the sound of orchestral instruments, it achieved viable public interest and made commercial progress into streaming music through telephone networks. Critics of musical conventions at the time saw promise in these developments. Ferruccio Busoni encouraged the composition of microtonal music allowed for by electronic instruments, he predicted the use of machines in future music, writing the influential Sketch of a New Esthetic of Music. Futurists such as Francesco Balilla Pratella and Luigi Russolo began composing music with acoustic noise to evoke the sound of machinery.
They predicted expansions in timbre allowed for by electronics in the influential manifesto The Art of Noises. Developments of the vacuum tube led to electronic instruments that were smaller and more practical for performance. In particular, the theremin, ondes Martenot and trautonium were commercially produced by the early 1930s. From the late 1920s, the increased practicality of electronic instruments influenced composers such as Joseph Schillinger to adopt them, they were used within orchestras, most composers wrote parts for the theremin that could otherwise be performed with string instruments. Avant-garde composers criticized the predominant use of electronic instruments for conventional purposes; the instruments offered expansions in pitch resources that were exploited by advocates of microtonal music such as Charles Ives, Dimitrios Levidis, Olivier Messiaen and Edgard Varèse. Further, Percy Grainger used the theremin to abandon fixed tonation while Russian composers such as Gavriil Popov treated it as a source of noise in otherwise-acoustic noise music.
Developments in early recording technology paralleled that of electronic instruments. The first means of recording and reproducing audio was invented in the late 19th century with the mechanical phonograph. Record players became a common household item, by the 1920s comp
An oscilloscope called an oscillograph, informally known as a scope or o-scope, CRO, or DSO, is a type of electronic test instrument that graphically displays varying signal voltages as a two-dimensional plot of one or more signals as a function of time. Other signals can be displayed. Oscilloscopes display the change of an electrical signal over time, with voltage and time as the Y- and X-axes on a calibrated scale; the waveform can be analyzed for properties such as amplitude, rise time, time interval and others. Modern digital instruments may display these properties directly. Calculation of these values required manually measuring the waveform against the scales built into the screen of the instrument; the oscilloscope can be adjusted so that repetitive signals can be observed as a continuous shape on the screen. A storage oscilloscope can capture a single event and display it continuously, so the user can observe events that would otherwise appear too to see directly. Oscilloscopes are used in the sciences, engineering and the telecommunications industry.
General-purpose instruments are used for maintenance of electronic laboratory work. Special-purpose oscilloscopes may be used for such purposes as analyzing an automotive ignition system or to display the waveform of the heartbeat as an electrocardiogram. Early oscilloscopes used cathode ray tubes as their display element and linear amplifiers for signal processing. Storage oscilloscopes used special storage CRTs to maintain a steady display of a single brief signal. CROs were largely superseded by digital storage oscilloscopes with thin panel displays, fast analog-to-digital converters and digital signal processors. DSOs without integrated displays are available at lower cost and use a general-purpose digital computer to process and display waveforms; the basic oscilloscope, as shown in the illustration, is divided into four sections: the display, vertical controls, horizontal controls and trigger controls. The display is a CRT or LCD panel laid out with horizontal and vertical reference lines called the graticule.
CRT displays have controls for focus and beam finder. The vertical section controls the amplitude of the displayed signal; this section has a volts-per-division selector knob, an AC/DC/Ground selector switch, the vertical input for the instrument. Additionally, this section is equipped with the vertical beam position knob; the horizontal section controls the time base or "sweep" of the instrument. The primary control is the Seconds-per-Division selector switch. Included is a horizontal input for plotting dual X-Y axis signals; the horizontal beam position knob is located in this section. The trigger section controls the start event of the sweep; the trigger can be set to automatically restart after each sweep, or can be configured to respond to an internal or external event. The principal controls of this section are the source and coupling selector switches, an external trigger input and level adjustment. In addition to the basic instrument, most oscilloscopes are supplied with a probe; the probe connects to any input on the instrument and has a resistor of ten times the oscilloscope's input impedance.
This results in a.1 attenuation factor. Some probes have a switch allowing the operator to bypass the resistor. Most modern oscilloscopes are lightweight, portable instruments compact enough for a single person to carry. In addition to portable units, the market offers a number of miniature battery-powered instruments for field service applications. Laboratory grade oscilloscopes older units that use vacuum tubes, are bench-top devices or are mounted on dedicated carts. Special-purpose oscilloscopes may be rack-mounted or permanently mounted into a custom instrument housing; the signal to measure is fed to one of the input connectors, a coaxial connector such as a BNC or UHF type. Binding posts or banana plugs may be used for lower frequencies. If the signal source has its own coaxial connector a simple coaxial cable is used. In general, for routine use, an open wire test lead for connecting to the point being observed is not satisfactory, a probe is necessary. General-purpose oscilloscopes present an input impedance of 1 megohm in parallel with a small but known capacitance such as 20 picofarads.
This allows the use of standard oscilloscope probes. Scopes for use with high frequencies may have 50‑ohm inputs; these must be either used with Z0 or active probes. Less-frequently-used inputs include one for triggering the sweep, horizontal deflection for X‑Y mode displays, trace brightening/darkening, sometimes called z'‑axis inputs. Open wire test leads are to pick up interference, so they are not suitable for low level signals. Furthermore, the leads have a high inductance. Using a shielded cable is better for low level signals. Coaxial cable has lower inductance, but it has higher capacitance: a typical 50 ohm cable has about 90 pF per meter. A one-mete
Big Loada is a 1997 EP by UK drum and bass and acid artist Squarepusher. It was his fourth release on Warp Records in the UK, was released in the U. S. with an expanded track listing, by Nothing Records. The original Warp Records edition track listing consists of: "A Journey to Reedham" – 6:35 "Full Rinse" – 2:23 "Massif" – 6:26 "Come On My Selector" – 3:24 "The Body Builder" – 3:02 "Tequila Fish" – 6:09 "Jacques Mal Chance" – 0:48 The Nothing Records version has a rearranged track list with additional tracks unavailable in the U. S. at the time: "Come On My Selector" – 3:24 "A Journey to Reedham" – 6:35 "Full Rinse" – 2:23 "Massif" – 6:26 "The Body Builder" – 3:02 "Tequila Fish" – 6:09 "Jacques Mal Chance" – 0:48 "Port Rhombus" – 6:41 "Problem Child" – 5:43 "Significant Others" – 3:28 "Lone Ravers" – 5:01 "The Barn" – 2:11"Come On My Selector" music video The rearrangement of the tracks is to highlight the "Come On My Selector" video, directed by Chris Cunningham, and, included on the re-release.
Tracks 8, 9 and 10 make up the full Port Rhombus EP, Jenkinson's first release on Warp. Tracks 11 and 12 are two B-sides to the "Vic Acid" single; this edition has modified cover artwork. Some Nothing Records versions of Big Loada are copies of Budakhan Mindphone that have been incorrectly packaged and labelled
Budakhan Mindphone is a 1999 album by Squarepusher, released on Warp Records. It follows in much the same vein as its predecessor, Music Is Rotted One Note, is classified as an EP due to its relative brevity—the cover refers to it as "a mini-album", it reached number 183 on the UK Albums Chart
Solo Electric Bass 1
Solo Electric Bass 1 is a live album by Squarepusher. The album consists of twelve tracks recorded from Squarepusher's September 2007 live performance at Cité de la Musique in Paris, France, as part of the Jazz à la Villette 2007 festival. In contrast to Squarepusher's multi-instrumental performances, the tracks on Solo Electric Bass 1 were performed using only a 6-string electric extended-range bass guitar and amplifier; the release is limited to 850 copies worldwide. Sourceshttp://warp.net/records/squarepusher/new-limited-album-solo-electric-bass-1 http://warp.net/records/releases/squarepusher/solo-electric-bass-1Notes Solo Electric Bass 1 at Metacritic