vinyl records have some interesting possibilities. one simple idea for all those minimalist listeners out there is taking a series of lockgrooves (an endlessly playing loop) at interval throughout the entire width of the vinyl. most lockgrooves ive heard are at the center of the record, giving you only a short duration for the needle to make a complete loop - but there is a change in duration as you progress outward toward the edge.
lets assign a waveform, say a comforting sinewave, to each lockgroove - the modulation frequency could apply directly to the duration of the loop; uninterrupted. as you listen to the loops nearer the center of the record, the modulation rate increases, and the resulting frequencies are higher in tone. this record could be used as a template for future, more elaborate loops, with the same durations/vinyl cutting setup.
4 comments:
my first vinyl release was 15 lockgrooves on a compilation, send me your address and I'll bung you a copy.
oh btw the duration of a lockgroove is constant regardless of position if you think about it's 33 1/3 rpm so the duration of a single rotation (a lockgroove) is a constant division of one minute by 33 1/3, obviously the length of groove varies but this is reflected only in quality rather than duration hence a slight drift to high end towards the centre (which is generally compensated for).
you could think of it as a play ground roundabout, you travel faster in the center than the outiside, but the speed of rotation is constant.
actually that's a bad example.
I know it may seem anti intuitive. but it is honestly true, you kind of need to disconnect the length of groove from the equation because though the reading needle covers more ground so does the etching needle at source, so they balance out that's why a repetative beat looks like a spiral. man trying to explain vinyl pressing at 5am is a really bad idea.
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