Flying into Myself

by Ryan Broughman

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1 01:29
2 01:29
3 01:05
4 01:05
5 00:47
6 00:34
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10 10:44
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44 00:01
45 00:55



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December 2014

In addition to a general listening guide the notes following this introduction are to be treated as audio notation and approached as building instructions, or a recipe for the (re)creation of what was, in its first manifestation, mostly an improvisational performance exploring concepts revealed to me by Richard Cameron-Wolfe in tENTATIVELY, a cONVENIENCE’s YouTube video “Richard Cameron-Wolf re Franz Camin” discussing his first composition for one of Franz Kamin’s Sunday Fiasco performances. I used Audacity (as well as a youtube audio ripper website for the RCW voice sample) on a mid-2012 MacBook Pro in the creation of this body of work. I found it particularly liberating to treat RCW’s spoken word as recorded by tENT as its own variety of audio notation as it includes all the information necessary to recreate his first FIASCO composition. John Cage’s Notations is an illuminating reference for the robust and idiosyncratic evolution of notation by contemporary composers and it certainly had a role in empowering me to approach the creation of audio and notation as one and the same.

tENT’s video can be found here under user, onesownthoughts:

John Cages Notations can be found here:

I circulated approximately 20 c-122’s wrapped in foil to various folks in the United States and one in Sweden. Having been a regular mailer of ephemera to Illuminated paths it seemed fitting to ship one their way and I was pleasantly surprised at IP having interest in doing a release of the material. Due my creative haste and absorption in recording directly to tape only a handful of digital files were saved so it became time to put my notes to the test and recreate Side A. This was a taxing, lengthy, and valuable experience that ultimately allowed me to further refine the integrity of the audio/notation. I’m very pleased with this collection.

The majority of my creating these files can be viewed in the 40 minute compression of more than 8 hours of footage here:
This video too, was used to further refine the notes and catch mistakes. Many more subsequent hours of fine tuning were not captured on video as such the aforementioned video is for context and not exactly representative of the exact audio here.

Notes provided here are more accurate to the audio provided than on my first releases. Though much more accurate and thorough, mistakes are likely.

Compressing tracks to mono and viewing as a spectrogram (Sonic Visualizer for Mac is sufficient) can provide onsite as to how the stereo channels coalesce in physical space.

This audio is not intended for headphone listening.

Flying into Myself

Track 1:

Waveforms: sine
Amplitude: 9
Amplitude of waveforms generated at 9 amplitude throughout the entirety of this collection and are sine waves until later mentioned.
Time: 1:30
sustained high frequencies paired in opposite stereo channel with declining pitch shift -12 semitones (-50%)
sustained low frequencies paired in opposite stereo channel with inclining pitch shift (+7.02 semitones) (+50%)

left: 22KHZ sustained (likely silence)
19KHZ sustained
12KHZ sustained
18HZ sustained
20HZ sustained
35HZ sustained

right: 22KHZ declining pitch shift (waveform seemed silent after effect applied may require render)
19KHZ declining pitch shift
12KHZ declining pitch shift
18HZ inclining pitch shift
20HZ inclining pitch shift
35HZ inclining pitch shift

Frequency figures gathered from a forum within where users discussed the frequency range of cassette tapes. Obviously, there is a variety of discrepancy due to a variety of variables during recording and playback; however, the above is accurate to the digital file creation and is what was fed through the equipment for recording.

Originally intended as a broad brushstroke loaded with the entire spectrum of capable audio for the sake of output and recording leveling with only sustained frequencies; however, I couldn’t resist exploring the fringe sliding pitch shifts.
Half second fade in and 5 second studio fade out applied (approx.). Fade ins and outs will be applied to subsequent tracks in a similar fashion, unless otherwise noted.

Track 2:

Fade in and out applied to very small parts at beginning and end
-75% initial tempo change to +150 final tempo change
-12 semitone initial pitch change to +12% final pitch change

Track 3:

Repeated application of identical settings for tempo and pitch sliding scales applied to Track 2 to Track 2. (-75% initial tempo change to +150 final tempo change
-12 semitone initial pitch change to +12% final pitch change)

Track 4:

Using original rendered file from Track 1 150%/+12 semitones initial tempo change to a -75%/-12 semitone final pitch change.

Track 5:

Same settings as applied for track 4 applied to track 4. (150%/+12 semitones initial tempo change to a -75%/-12 semitone final pitch change.)

Track 6:

Same settings as applied for track 5 using track 5. (150%/+12 semitones initial tempo change to a -75%/-12 semitone final pitch change.)

Track 7:

Same settings as applied for track 6 using track 6. (150%/+12 semitones initial tempo change to a -75%/-12 semitone final pitch change.)

Track 8:

Same settings as applied for track 7 using track 7. (150%/+12 semitones initial tempo change to a -75%/-12 semitone final pitch change.)

track 9:

Same settings as applied for track 8 using track 8 (150%/+12 semitones initial tempo change to a -75%/-12 semitone final pitch change).

Track 10:

My second exploration attempt at RCW’s vocal composing of his first Fiasco piece for Franz.

Track 11:

Referred to as Wed303 for my own file naming though it is an untitled piece. No notes were made as I had exhausted my own patience and did not want to impede the creative process; however a video of its creation can be found all the information extracted here:

Track 12:

First Exploration of RCW vocal notation. Extensive commentary as to the process can be found on sound cloud.

Track 13:

left: 18Hz sustained
20 Hz 12 semitone climb
35 Hz sustained

right: 18Hz 12 semitone climb
20Hz sustained
35Hz 12 semitone DECLINE

Track 14:

left: 19KHZ sustained This may not record properly. Turn Dolby off when recording/duplicating (tape fidelity is also of concern). This may be a silent track on some setups even if recorded properly.

right: 19KHZ decline 12 semitones (fixed earlier export which was centered)

Track 15:

centered: 18KHZ sustained and 18KHZ declining 12 semitones
A great many variables affect the experience of this track including the age of the listener (many adults may be physically incapable of hearing these frequencies thinking the track is silent while younger adults/teens/pre will clearly hear it). Equipment and/or settings (leveling, EQ, Dolby/anti-hiss etc) used in recording or duplicating cassette (including type of cassettes) and, ultimately the equipment/settings of the playing of the cassette will affect experience. In all cases I recommend using track 1 as reference in leveling, turning Dolby or any anti-hiss filters off, and at least a mid-high volume output. NO HEADPHONES unless satisfying your curiosity after listening without headphones.

First release/recording this was recorded mono by mistake and kept for the sake of listening context and consideration. The effect, when pumped out as a mono track, I speculate, may be occurring either as a matter of physical limitation in handling the frequency dissonance thus mimicking the “beats” as RCW calls them in a physical stuttering of handling the frequencies OR the phenomenon is emanating from the speaker cone itself. This also will vary significantly from various equipment combinations and/or setups. My reference cassette deck is an old JCPENNY portable that playback in mono and the “beats” still occur; however, are obviously much different to experience than with even small stereo laptop speakers.

Track 16:

Same Frequencies as in Track 15; though, split with 18KHZ sustained in left and a 12 semitone decline of 18KHZ in right. Same silence concerns as mentioned previously.

Track 17:

Using track 16’s file I applied a sliding pitch decline of 12 semitones to the left channel and again to the right channel.

Track 18:

left: 17KHZ sustained

right: 17KHZ decline 12 semitones

short fade in and out applied

Track 19:

Same as track 18; however, generated wave form is a Square (no alias).
left: 17KHZ sustained

right: 17KHZ 12 semitone decline

Track 20:

All waveforms, square (no alias).

left: 17KHZ sustained
35HZ 12 semitone decline

right: 17KHZ 12 semitone decline
35HZ sustained

Track 21:


All waveforms, square (no alias).

left: 466.164HZ (Bb above middle C) sustained

right: 466.164HZ 12 semitone decline

Track 22:

Same as previous with channels switched

left: 466.164 12 semitone decline

right: 466.164HZ sustained

Track 23:


left: 466.164HZ 12 semitone decline
1466.164HZ sustained

right: 466.164HZ sustained
1466.164HZ 12 semitone incline

Short fade in and out applied.

Track 24:


left: 466.164HZ 12 semitone decline
1466.164HZ sustained
46.6164HZ sustained

right: 466.164HZ sustained
1466.164HZ 12 semitone incline
46.6164HZ 12 semitone decline (fixed from previous centering)
Short fade in and out applied.

Track 25:


Same as previous track with -75 initial tempo change and no pitch change applied.
Short fade in and out applied.

Track 26:


POV (standing doggy style) outdoor amateur porno clip. This is a sample from the first cassette which is itself a sample from a porno that I jerked off to after becoming impatient with the lengthening rendering times in generating the track that follows this one.

Track 27:

left: 126.6164 12 semitone decline
106.6164 sustained
86.6164 12 semitone decline
66.6164 sustained
46.6164 sustained
26.6164 12 semitone decline

right: 126.6164 sustained
106.6164 12 semitone decline
86.6164 sustained
66.6164 12 semitone decline
46.6164 12 semitone decline
26.6164HZ sustained
Approximately 20 second studio fade out applied.

Track 28 - 44:

Times: 2:38 1:57 1:27 1:04 0:48 0:35 0:26 0:19 0:14 0:11 0:08 0:06 0:04 0:03 0:02 0:02 0:01

35% speed increase (same as if playing a 33 1/3 at 45) of previous track until approximately 1 second

Track 45:

35% speed increase to Track 44 then opened in audacity, repeated 100 times back to back. Sliding tempo and pitch change of +150% and +12 semitones applied.

Please send tapes, ephemera, champagne, letters, or other items of interest to:

Ryan Broughman
3402 Park Avenue
Richmond, Virginia 23221
United States

I try to reply to anyone who writes.



released February 4, 2015


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