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Topics - SourceCodeX

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Ever since hearing his Structures from Silence — I have followed after his releases, reviewed his music, promoted his music, and bought his music. After Steve Roach’s NDE following a bad motorcycle accident — having heard some “music” during his NDE — Structures from Silence was composed as Roach was trying to recreate that beautiful “music” he heard. It’s release put Roach on the ambient music map. I have now become an ambient musician myself. Roach began using sequential notes similar to the arpeggios found in the Berlin school of synth music. But early on Roach tried atmospheric and beat less drones composing that began his signature sound which he pursued for decades — creating his own niche that soon many other electronic musicians followed after.

His stylings weren’t very stagnant however — with his soon trying a tribal, percussive, shamanic type of ancient origins sound. He released more sequenced and rhythmic pieces. My all-time rhythmic, Berlin school influenced favorite is his Empetus release — and that — for me was all I needed of that gestalt.

His atmospheric drones and soundscapes are still his strength — in my opinion — having immersed myself in his work for so many years.

My main goal of this article is to recommend his most meditative, calming and relaxing releases. Many of his immersive drones can sound machine-like, a bit metallic, with a tunnel hollow reverb quality, and even at times — threateningly looming over the listener in their overall development. It is okay of course as that is what Roach felt like creating. But for me — they were creating an edginess and tension that I don’t want in my ambience. The alien coldness and nonhuman dimensions some of his work seemed to echo is just too disturbing to this listener seeking to relax. Most importantly for me is the total lack of beats or rhythmic elements in an ambient piece. It must be pure soundscape like an abstract watercolor painting for the ear.

I typically put ambient recordings on and set my player to endless loop. That way it becomes an environment so to speak. Releases by Roach that create tension or an alien feeling realm do not comfort but pull me into a weird and distracting space. I don’t enjoy rhythmic or sequenced elements as they too are distracting and more mesmerizing than calming. This is all subjective of course but if this happens to me  — I venture to assert the same will happen to other listeners. Oddly enough, my wife doesn’t like ambient music at all — saying it feels as if something is about to happen but never does.

Several factors will determine how relaxing a synthesizer driven ambient piece is. The synthesist has a myriad of waveforms to work with. Sine, Triangle, Sawtooth, and Pulse or Square are the four most commonly utilized synthesizer waveforms. Depending on what type of basic waveform is used and how it is further manipulated for each note played has a great deal to do with whether or not it is pleasant or irritating to hear.

Also, I find what octave the notes or chords are played in relating to middle C is also key (no pun intended). Typically, for me, higher octave notes and chords are not nearly as relaxing. A passage in an ambient composition being played in the middle to lower registers lends itself immediately to sounding more relaxed. Why this is so, I cannot explain. I believe it is a vibrational brainwave syncing thing.

Also key to ambient music is the ADSR settings on the synthesizer. I design ambient pad presets for various iOS based synth apps so I know a great deal about ADSR as well as BPM (beats per minute). “A” stands for attack which determines how quickly a note will sound after the keyboard note or chord is pressed down. “D” is decay or essentially how the note falls off so to speak. “S” is sustain and “R” is release. So ADSR combined with oscillator(s), modulation, reverb and many other factors will either make the sound calming or irritating or somewhere in between.

Musically speaking, there are a ways to play, to compose, like major or minor keys, diminished, atonal scales or diatonic and the list goes on and on.

Many synthesizer players prefer one model over the other to get “that sound” they want. I own five hardware synths and eleven soft synths on my iPad Air. They all have certain features that I enjoy. I even have synth apps that nearly perfectly recreate that hallowed Mellotron sound, made popular by many progressive rock bands. Some savvy keyboard players also use certain effects set between the synthesizer and their amps or DAW. All these other factors can help a composer create beautiful synthesizer pieces.

Not keyboards alone — but guitar, violin, EWI (electronic wind instrument), etc have all been used for ambient music. If you like — add field recordings to a piece for more environments to the music. Frankly, ocean surf, babbling brooks, wind, song birds has been done to death in ambient music. I find such a tad boring — but that is my taste. I must admit to using field recording in my most downloaded piece “Time Warps in Alternate Worlds”. But I have digressed enough.

So what ambient Roach releases do I recommend as the most calming, meditative and overall true mental massage? Here they are, not really listed in any order of best or worst. They aren’t meant to be in chronological order either.

For ambient music collectors or those seeking deeper peace via an aural method — find and purchase these releases by Steve Roach.

Structures from Silence (3CD edition)
Quiet Music (3CD edition)
Slow Heat
Texture Maps
Live at Grace Cathedral
Immersion 4
New Life Dreaming
Low Volume Music
The Passing
A Deeper Silence

These are releases that are 100% relaxing for me. Many of his other releases feature pieces or portions that are very relaxing but the rest of the release fails to meet my calming “standards” as described above.

I know that for such a large discography this seems a short list but there you have it.

Other ambient musicians that have released excellent meditative releases are James Johnson, Max Corbacho and Phillip Wilkerson to mention a few. For the most continuous stream of very calming releases I highly recommend Jim Butler. He is the most prolific ambient creator I know. Lastly, I’d like to mention both IASOS and Dr. Jefferey Thompson as having released some incredibly calming and relaxation ambient works. I won’t mention specific releases by the above artists. With sites like Bandcamp, Spotify and YouTube — you can easily discover their best works.

I hope this brief discussion will help ambient music fans discover some new music guaranteed to calm your psyche.

I was digging into the net looking up new Ashera & old Ashera and stumbled upon "Ambient Ashera" on Spotify here:

It appears Anthony has created some compilations of his back catalogue there and perhaps some newer material maybe offered in all these ambient offerings.

On Amazon these same offerings are available digitally here:

Lastly, you may listen to Ambient Ashera on YouTube here:


I wish there was a way to contact Anthony . . .

Huge electronic music & other eclectic genres CD/DVD sale online now. I just added dozens of rare CDs, LPs, and even rare release cassette tapes. Some of these items are signed by the artist and even the whole band.

Find all this great music here:

I also sell at Amazon (since 2005) but Amazon recently removed individual sellers' "storefront" pages to get us to pay for such once-free service. Anyway if you are looking for a particular release on Amazon, just look for the item's being offered by listing by phatcds4younow. I am 99% of the time the lowest price or just use Discogs or MusicStack. (I ship internationally via MusicStack.)

Here's a sample review about phatcds4younow: (customer bought my personal copy of Tonto Rides Again by Tonto's Expanding Head Band)

"I must confess, I was a little nervous about parting with $250 for a CD. However, it arrived in great condition and on time, as promised. Several emails also served to keep me informed of progress. I'm very satisfied." By Amazon Customer on September 27, 2006.

(I was actually the lowest priced seller at $250!)

This is Amazon's info about us:
"phatcds4younow"© is committed to providing each customer with the highest standard of customer service. We are known best here for our super FAST shipping. We do make mistakes rarely but quickly resolve them no questions asked. Shop here with no worries. We strive to provide the best deal on what you need here. Contact us direct if you need a special item and we will try to find it for no extra fee and list it here. Feel free to haggle our prices as we do reduce the sale price if we can. We ship all orders within 2 days of order entry. Free upgrade of all CD orders to First Class Mail. Our competitive prices reflect 1) Scarcity of the item. 2) Amazon's 30+% cut of all CD sales 3) and the increased current-day USPS shipping fees that Amazon refuses to cover for sellers even though we have asked them to do so. No cancellations or address changes after Amazon has forwarded the order to us. We use USPS-approved air filled bubble mailers. All damage caused to fragile jewel cases in transit is not our responsibility. Please contact your local post office. We answer all your e-mails within 24 hours on regular business days. We list the condition of used items by following the criteria posted on the Amazon website and we add extra notes as well. Please contact us with order number and order date 30 days after order entry in case your order has not arrived. Thanks for shopping with us. I am not only selling here but you can find my rare jazz fusion, progressive rock and electronic music at Discogs and MusicStack.

Music Gearheads Tech Talk / AudioKit Synth One synth app
« on: December 06, 2020, 06:30:14 AM »
I just discovered AudioKit Synth One for iPad today:

And this is my first creation:

It's a great synthesizer app and it's FREE.

Recommended by

Forum Member Projects News and Promotion / Codex Hypnos II Mutation Mix
« on: October 30, 2020, 12:20:05 PM »
15 years ago, I released Codex Hypnos. I have unearthed the original files and mutated and remixed them. Original release was 77 minutes long. The new release is 108 minutes long.

Listen and purchase here:

Independent Music Reviews / An article on Ambient Music
« on: May 24, 2020, 04:40:31 PM »
Ambient Space: An InnerView
By John W. Patterson

Take a breather. Kick off your shoes. Set down the backpack and gaze now across dusk-hazed valleys of the past. Reflect, breathe out fatigue and adjust your soul's perspective. Listen.

In this silence is ambience. Beyond those sunset-dappled ridges is infinite space. Between those respiratory rustlings of breathing and the invisible churnings of mountain thermals lifting the soaring hawk, is ambience. Within each moment's malleable measure is space, ambient space.

Sense and sensations, time and timelessness, conscious thought and unseen filtering grids of perceptive experience all flow together. They are fused, in a matrix, stored, altered, processed, and recycled. Layered, looped, lilting, and sometimes "lost" our life experiences are a miasma, a mosaic that we define as being alive -- being aware. We each attempt to modify our personal ambient space in a multitude of ways for diverse purposes. It may be for comfort, relaxation, and excitement, for pleasure, for inspiration, healing or even walking "the valley of the shadow of death".

So we buy yet another CD, yet another piece of music. Will this be the one? We each know that no single piece of music will ultimately satisfy our cravings for what music can provide for our preferred ambient space. That "head-room" we seek to fill is infinite and constantly changing. For years it was pop rock for many, then maybe you found jazz or jazz fusion. Perhaps you immersed yourself in classical music, art rock, or reggae. Whatever worked to satisfy, to give that certain rush of brain chemistry, you would listen to -- you were your own expert on yourself. Whether you were a musician doing it or an avid fan you made your ambient space as you wished.

But how often did you buy a piece of "music" or a sonic experiment that confused you because it was so amorphous? Maybe it lacked rhythm, had endlessly droning tones, or was arranged in patterns of sound that lacked predictable norms. If you are like most people, this at first is a bit unsettling. Such creations require a certain psyche -- an openness to "let go".

Beyond jazz, apart from rock, in a whole separate genre to itself is a "music" or an aural experience called Ambient Space. It may incorporate noise or near-silence. It may approach musicality with sparse rhythms and vagaries of melody. This is a music that induces imagery and feeling, alters mood and thought, and somehow generates a sense of expanded personal "presence" and opens inner spaces beyond their typical horizons. Ambient Space music may be airy and light, simple and pristine or it can be dense, heavy, and dark. Ambience as an art form has its history and heroes. Allow me to take a look now across the "valley of the past".

I digress into a "possible" pre-history of ambient music. Sometime in our extended pasts, we well-brained hominids found certain sounds pleasing  -- they spoke to us. Environmental, organic sounds communicated feelings. Sounds soon became tools. We imitated and augmented nature's song. We hummed and shouted, sang and danced -- we discovered ways to evoke sound from silent objects. We answered the Creation. Heightened awareness of ambient sound generated a semi-structured music. Patterns, tones, textures, rhythms and sonorities became associated into a schemata of "song". In ritual, ceremony, revelry, battle, and to pass the time we used sound as a tool to modify ambient space. Sound was power. Sound opened inner realms, groomed our consciousness, changing us forever.

And after so many millennia various artists have sensed that need to listen to the original spaces between "song" again, to return to hearing what Man first listened to before song. How does one do this? How do we re-create primeval ambience and reproduce that pre-music sense? This is the challenge of creating quality and power-laden ambient space "visual musick".

I sit here writing this article, immersed in the ambient spacescapes of Brian Eno. The current "mood" I have chosen is Eno's The Shutov Assembly, set on endless loop. Eno is considered by most to be the one of the first pioneers, the "forefather", and knee-jerk name associated with ambient music. His '70's ambient releases, his Music for Films volumes, the tribute to the Apollo space missions, and other releases are some of the finest ways to begin adjusting your head for ambient works. Be it Wendy Carlos' Sonic Seasonings, Klaus Shulze's non-sequenced, synth fugues and expansive organ drones or Harold Budd's minimalist keys, each nudged opened the way for Ambient Space to return.

Tape loops, processed "found sounds", organic nature samplings, synthesized voice, electronic winds and waves all made their way to vinyl and were cast upon the whims of record labels' marketing stratagems. Ambience made its ripple in a select group minds. Most fans of electronic eclectica wanted trippy complexity, layer upon layer of tracks, more structures, intricate sounds, hurried flurries of notes beyond human capacities, positive feedbacks, and overdriven mayhem. Minimalism was too easy, placidly boring, and if used as a "space-out" break, most groups kept it at a minimum. Tangerine Dream used this effect early in their career but cut back on such "wide open drifting moments" almost completely. The masses wanted more "song" and less "scape".

In the '80's the New Age music explosion allowed a renewed platform for artists seeking Ambient Space creations. Out of this explorative and introspectively experimental decade survived and thrived a certain group of artists that had finally carved a deep niche, etched new petroglyphs on the stone of pre-music and best of all -- their music was selling. It was gaining a foothold. Some of these ambient artists leaned towards inner space works, others effectively evoked a sense of outer space. That sense of seeing alternate dimensions, entering timeless voids, and a journey into the Meta-world was strong in these releases. Standing now as the '80's and '90's pioneers of Ambient Space "music" or pre-musicks we have Steve Roach, Jonn Serrie, David Parsons, Michael Stearns, Robert Rich and others. The late '‘90s has been very good for a re-birth of great Ambient Space releases. New labels and artists are coming on the scene each month it seems. Vir Unis, Vidna Obmana, James Johnson, Stephen Philips, Richard Bone, Darshan, Ashera, Richard Tyler, Robert Carty, Zero Ohms, and many, many more are all giving the world some truly fine ambient works.

Synthesizers, samples, loops, voices, midi, and an ever-evolving computer tweaking of sound is allowing some of the most fascinating listening experiences I have ever heard. Some composers have even found ways to sample visual data, digitize it, and turn it into sound -- ambient signatures that echo visual information. You have to hear it to see it.

What excites me so, is that these artists are on a pilgrimage to find, unlock, and stimulate deep areas in the human psyche. In doing such, they are explorers wandering across uncharted lands. Each shares what is discovered along the way with the listener. We then are allowed to retrace their treks into Ambient Space.

We can never replace the truest effect of "being there" -- in the desert vast, sinking 'neath ocean depths, standing on frost-covered hillsides or entranced enroute to walk the red-oxide terrain of Mars. We each should seek out such realities if at all possible. Yet in between such finer moments of reality, between songs, whether at home, at work, or on the road, with Ambient Space "music" the luxury of "inner travels" is available. Doors are opened. It is as simple as pushing a button or inserting a compact disc. This is music that not only gets inside you but you can also walk, fly, soar, or drift inside this music-space.

I end with saying this, Ambient Space is not an art form for people in a hurry nor is it music for the narrow-perspective'd, the nonvisually-oriented, and unimaginative listener. Ambient Space music can both be an ignored listening experience or you can fully immerse yourself in its power. Some will claim it heals, relaxes, transfixes or alters the psyche. Well it shifts this author and music reviewer's mood and inspires creativity. Best of all it allows me to enter a space all my own -- an Ambient Space beyond the music and back to the Source.

Other Ambient (and related) Music / Jim Butler on Bandcamp
« on: May 08, 2020, 10:52:57 AM »
I just wanted to give a shout out for Jim Butler's ambient music. Look for him on Bandcamp. He's very prolific and does quality ambient works. His May 2020 releases during the pandemic really good.

Forum Member Projects News and Promotion / New release by SourceCodeX
« on: April 10, 2020, 01:18:25 PM »
I have a new "name your price" release on Bandcamp just for these trying times.

 Hello friends of music,

These are trying times. I hope you are well. You have supported my music in the past. I thank you. As has closed their online retail store, I have moved all my releases and some unreleased pieces to Bandcamp. Please have a look around there where you can stream most all my releases. Enjoy.

Again, many thanks! Stay well.

I have been checking song stats at iTunes, Pandora, Spotify and elsewhere. Above all others the most listened to and downloaded piece is "Time Warps in Alternate Worlds". Have a listen here:
Enjoy. From The Persistence of Ambience 2008 release...

Music Gearheads Tech Talk / Anyone here ever use GoldWave?
« on: March 12, 2020, 09:49:48 AM »
I have found this GoldWave program very useful in manipulating sound. It is like a Swiss Army Knife for me. I have used it extensively on many of my dark ambient releases and producing online radio shows. It is made by a guy in Newfoundland. It is also quite affordable. Only $45 USD


IASOS: Angelic Music (CD, 60:09);
Inter-Dimensional Music, IDM 7001 1998

"IASOS has been around a very long time, a bastion in the New Age movement of music. He differs from many of the musicians of that formerly glorious era in that he actually helped get it going, being someone who really believed and practiced tenets of the New Age philosophy and as best as I can tell - is still faithful to olde school New Age isms. His music is/ was an expression of his belief system and when IASOS indicated it is meditative or "opens doorways" then that's exactly what he means and intends. This is not one of those mere fast-profits nor shallow New Age-y vacuous releases that deluged the record shelves for many years. This is "hard core" New Age foundational material. However . . . IASOS has performed an ingenious maneuver in that he has realized that strong moments in earlier releases' shorter versions can be "re-cycled", literally, into looped, extended ambient creations. I always felt upon hearing the original versions that IASOS could have made the song much longer. Well, he did!"

   Track one, "The Angels of Comfort", comes from Elixir, released back in 1983. IASOS has taken a 10:59 song and pulled it out into 29:50. It might be bit repetitive if you try to look for loopings. But if you just effortlessly enjoy the deeply relaxing hot tub of synths, drones, and ebbings of bliss - you will then truly enter IASOS-ville - a world of beauty and light.
   Track two, "Angel Play", again 29:50 long, hails from a 8:50 long track on Inter-Dimensional Music, released back in 1975. Enjoy environmental sounds such as babbling brook, frog calls, and hear the truly unique and unadulterated essence of classic IASOS synths. He is his own man in the "ambient" genre and deserves checking out. Connect with that New Age era all over again, offered by one of its best composers and performers.

   I quote IASOS' website press, "The Psychology Department at Plymouth State College had this music receive the highest rating, by quite a margin, for being 'most like the heavenly music' heard by people who had had a near-death experience." So check IASOS out for that "tunnel of light" soundtrack!
   ~ John W. Patterson

IASOS - all synths
GOD, the Creator - babbling brook, amphibian friends

The Angels of Comfort, Angel Play

IASOS: Timeless Sound (CD, 60:58);
Inter-Dimensional Music, IDM 7002 1996

IASOS has been around a very long time, a bastion in the New Age movement of music. He differs from many of the musicians of that formerly glorious era in that he actually helped get it going, being someone who really believed and practiced tenets of the New Age philosophy and as best as I can tell - is still faithful to olde school New Age isms. His music is/ was an expression of his belief system and when IASOS indicated it is meditative or "opens doorways" then that's exactly what he means and intends. This is not one of those mere fast-profits nor shallow New Age-y vacuous releases that deluged the record shelves for many years. This is "hard core" New Age foundational material. However . . .

   IASOS has performed an ingenious maneuver in that he has realized that strong moments in earlier releases' shorter versions can be "re-cycled", literally, into looped, extended ambient creations. I always felt upon hearing the original versions that IASOS could have made the song much longer. Well, he did!

   Track one, "Cloud Prayer", was on an old 1975! release,  Inter-Dimensional Music, alongside many other interesting cuts. I originally owned this on LP vinyl and used it to "calm the house" when my children were younger. IASOS has taken a 4-5 minute slice of sound and pulled it out into 29:50! If you like this sort of ambience, mindless background droning as I do - it works. If you want more, song-like variety you may be dismayed. But IASOS does not intend it as song. He intends it as a vehicle and a catalyst for "inducing profound stillness".
   Track two, "Throne Realms", again 29:50 long, was a bit trickier for me to backtrack and locate in my IASOS recordings but I found it on Elixir, released back in 1983. This extended track comes from the last 8:00 of "Crystal*White*Fire*Light" and again I always enjoyed that outro from a great old IASOS release. IASOS has reworked it, emphasizing the low-end, basso profundo drone, balancing in the firm mid-range spectrum of synths, and essentially removing the former high-end, tinkling harp-like and bell-chiming effects and sprinklings of crystalline splashings. It's amazing how the effect of a piece changes its mood with a new mix.

   This is good "space out" material if you want consistent drones and looping soundscapes but if you want variety and multi-faceted synth journeys to tantalize you, IASOS may only put you to sleep. Your call. My call? I enjoyed hearing IASOS in a new extended format. It's time for some new ambient works I think. I know IASOS has it in him.   

~ John W. Patterson

Personnel: IASOS - all synths

Track Listing: Cloud Prayer, Throne Realms

Richard Tyler: Fathoms (CD, 73:45); rtcd-99582, 1999
Blue Tractors Records
Blue Tractor Records,  London

Quick thoughts: I am quite impressed with the sensitivities and skills of
Richard Tyler when it comes to successfully putting together subtle tones, drones, and effects to create a theme of peace and moving the soul's waters towards The Calm. His ambient compositions are strongly recommended. Expect an Old School feel, the way electronic music artists did things 25 years ago. Tyler does employ some 21st century tools but I kept feeling like I had a classic reissue playing. Nice job Richard.

And now the review . . .

Fathoms is of course a nautical unit of depth measurement. It is an appropriate moniker for this release. Four movements; "Fathoms" 21:38, "Deep Blue Circle" 20:41, "Shiny Stones On The Bottom" 16:55, and "Surface Becomes Earth" 14:28, each transport the listener from shoreline to the depths back up for air, then on to the submarine trenches, past unseen aquatic dimensions, and finally back up for air, to rest in sunlight and surf.
Tyler nods his recording head to Danna and Clément in using environmental sounds to set the scene. After surf and intermittent gull we descend beneath the surface to drift down on Peter Michael Hamel-ish or Klaus Schulze-ian, olde school, church organ-ish, endless dronings, Leslie-effected, warped, treated and done so well. Low-end, huge synth tones persist, Mid-range, Roach-like chimed tones randomly occur circa Structures from Silence's "Quiet Friend". This weave of sound is subdued, low-key, looped, erratic but restful in its effect, fade in to more surf sounds then another "descent" Strange echoes come and go, wordless vox samples, (Spectrasonic's Symphony of Voices), create a sense of mermaids calling, leading the way to the depths. That rapping, a hollow echo depicts sound waves distorted by liquid, patterns of the above are random, relaxing as usual with Tyler, holding your attention for what may come next. Deep drones hold fast throughout, the sense of drifting down, floating into immense voids prevalent gestalt here. Whooshing sounds come late in the track, a mystery unfolding? But no, we are then carried to next track with no answers or clues. A tubular, hollowed-out, drone-tone fades in. That tunnel-driven synth form
oscillates slowly, descending into lower octaves. Background drones remain, grouped in patterns that hold pretty constant. Slight melodic pattern is followed by mid-range synths. A denser weave of multi-tracked dronings is present here. Most tone patterns descend with very little upper register wanderings. This automatically soothes and relaxes the brain, neurons firing less, serotonin levels creating mind-ease. A warbling, wave-like, water-effect distortion is evident here in drifting tones. Bubblings and odd echoes presage whale songs that are done better than most other cetacean recordings I have heard. It is tasteful, subdued, distant, and like being there within 100 feet of them versus standing near an aquarium view-tank with loud-speakers. Tyler achieves a dreamy aquatic realism. Whale songs soon pass and a short drone space similar to track intro becomes the outro. Fade out to final track. As if it is now time to resurface wordless vox samples, (Spectrasonic's Symphony of Voices), again create a sense of mermaids saying farewell, you are leaving the depths. Sound forms used in track one return as if one is passing back through realms formerly traveled. The Peter Michael Hamel-ish keyboards come awarbling and expertly mutated by Tyler for the ascent. Mermaid vox comes and goes in that erratic pattern used so effectively earlier. Organ synths fade, ethereal voices continue to fade-out and the surf with gull cries signals journey's end. Fade out all sound. Zzzzzzzzzzzz.
   ~ John W. Patterson

Richard Tyler: Eepra Nahf (CD, 50:00); rtcd-980022, 1998
Blue Tractors Records
Blue Tractor Records,  London

In Tyler’s “Ambient Music for Deep Relaxation and Meditation” series, Eephra Nahf is yet another offering. The 20:00 opening title track opens the way to visionary spaces with a style sounding incredibly similar to Don Slepian’s “Sonic Perfume” from a
now deleted release on the defunct Audion Label. It is as if Slepian said, “Sure Richard, here’s the original tapes, tweak ‘em, whatever, change this and that and you can use it.” I guess it could be considered a very well done tribute to Slepian. It sounds as if it was
done on the original 80s equipment. Anyway, it came about, it is well done and yes, very relaxing.

The next track, “The Trapeze Artist”, 10:00, never really set me at ease. Its
ringing, resonant, feedback-ready, whistling tonalities were painful if the volume was set too high. Random noise, warped, phased, flange mid-ranges and low-end drones add to the dense mosaic. Imagine a 6-foot tall tuning fork vibrating in a very small cubicle with you. Not completely calming but more psyche overload, inducing erasure of thought processes.

“Connection to Breathing”, 20:00, ahh yes, this is better. Think of Halpern, Budd, Eno, Lynch, or Badarou idea, the crystal clear, light-filled, minimalistic tones of a sparsely tinkled keyboard. Plenty of reverb and sustain here. Occasional odd animal calls echo past in adjacent soundfields. A Whale? No. A Loon? Perhaps. An alien leather-winged bat-bird? I dunno. Whatever it is, it likes cruising around in your head, calling randomly. It’s a nice touch to aid in avoiding listener boredom. ( I fear however that someone has surely done this same routine before on some holistic, New Agey 80s binge
of releases.) Tyler repeats, loops, improvs on keys scantly and briefly. Tyler saunters in a directionless path to nowhere and not too fast either. It is one-dimensional, not challenging the listener to listen. No flash here. More of this, some more of that, then final echoes of the crypto-critter’s cries, fade-out into a deep woods serenade of insecta and amphibia and that “loon” that leads all the night denizens into silence . . .
         ~ John W. Patterson

Other Ambient (and related) Music / Kelvin L. Smith
« on: March 05, 2020, 04:38:13 PM »
A release of long ago (2003) called Reclining Music by Kelvin L. Smith is worth a listen to anyone into quality ambient.

Now Playing / NP...
« on: March 05, 2020, 04:28:25 PM »
Heard Darshan Ambient passed away just now so I am spinning his Providence release... "Soft-Land" is on...RIP Michael...

Ambient tracks from 2011 just made available here:
They were also uploaded to -- just search "SourceCodeX"

New SourceCodeX, Rebirth release due out 02/02/15

The page at CDBaby will go active on Feb 2nd with more info at:

It will be available at iTunes, Amazon, and a host of other sites for download and/or streaming.
This is deeply relaxing, meditative, and healing, long-form, ambient music using microKorg and Akai Miniak synthesizer keyboards only.
I had not recorded any music in over two years. One day the internal clouds began to part and within a few weeks all this healing music came forth. It reminds me in some ways of Chuck Wild and his wonderful Liquid Mind releases but my work differs in many other ways on some songs.

My 89-year old, widowed mother listens to these pieces all day on repeat and enjoys them. My wife says this is the best music I have ever released, coming out of deep pain and suffering. Some have said some of the pieces would be good for people being prepped and awaiting surgery to calm down. My mother said many pieces would work nicely as music playing for when the faithful are entering a sanctuary. What I do know is, I have poured my soul into each piece to make it a wonderful journey of peace and healing. This release would be great for massage therapy suites or for people battling grief, anxiety, or sleeplessness. Total running time of this release is a generous 79:35 length.

Forum Member Projects News and Promotion / New SourceCodeX CD released
« on: October 09, 2014, 12:56:59 PM »
The new SourceCodeX 2014 release will be called Breaking Open of the Seventh Seal.

You will hear E-Bow guitar work similar to that of Robert Fripp. Experience Berlin School sequenced electronic music. Joy to feeling the essence of Ozric Tentacles and Steve Hillage with guitars jamming over wild synthesizer-scapes. If you dig synth rock, progressive rock, space rock or space music that is trippy -- then you will find something to please you within this release. I tried to just have fun creating this music. There is even a splash of Vietnamese-based, folk rock dedicated to a recently passed friend named Dao. Of course, you will hear the swell and wash of synthscapes like unto ambient electronic artists Steve Roach, Robert Rich and Max Corbacho.

The CDBaby home will be here as of 10/10/14:
Breaking Open of the Seventh Seal

For a pre-release listen to a few tracks go here:
(If link is buggy, just go to and search SourceCodeX )

CD will be available soon as well at iTunes, Amazon and other digital music download sites

Thanks for the support!
Opinions always welcome
John W. Patterson

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