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Objective Linearity

by RadioSilence

supported by
Gideon
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Gideon Found myself humming this track when walking my dog! A very enjoyable album. Favorite track: Temple of The WonkLord.
www.littleuniversemusic.co.uk Simply Better Music
www.littleuniversemusic.co.uk  Simply Better Music thumbnail
www.littleuniversemusic.co.uk Simply Better Music For me a beautiful mix of ambience and the best of Tangerine Dream style melody's. Or another way of looking at it is take Mark Shreeve's System 6 track from the album Assassin extend the tracks to about half hour each and you have the current variable of Andy Pickford's Radio Silence. I listen to alot by the way but I'll always come back to AP for a pick up. Absolutely wonderful stuff mate and don't ever break what ain't broken. ⛏️O top notch. Favorite track: Esmer's Well.
boogiemoog
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boogiemoog The most fluent work of the series. Highly enjoyable Favorite track: Esmer's Well.
synthforever
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synthforever This must be a close as it gets to heaven, most elegant, sublime and serene , words cannot describe it. At 12 minutes into my favorite track, just closed my eyes and sighed with pleasure as I floated in the eternal void, so satisfying!!Thank you Andy, all that work you did to give us this gift is very much appreciated!! Favorite track: Temple of The WonkLord.
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1.
Little Pixel 08:19
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Esmer's Well 32:32
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Anjikuni 35:44
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about

All of these were recorded as live performance pieces. Only minimal post-production corrections have been applied. No editing.
So, following on from Newton’s Cradle and First Sentience, Objective Linearity certainly takes me back about 40 years in terms of approach. My style’s gained a lot of sophistication since then, thankfully. So has gear which makes it possible to achieve things more reliably.
I can’t mention the word ‘reliable’ though, without having another moan about the tuning of analogue oscillators. Well, actually they’re not so bad, not the monophonics at least. I can switch those on a day later and they’ll stay tuned, providing none of the cats have sabotaged them overnight. The real box of assholery is in fact the Korg Minilogue XD module I recently got. Okay, if I’m really really lucky it’ll do what I program it to do. More often than not, it’ll wonk out after a minute and start going off on its very own tangent. Going ridiculously out of tune whenever it feels like it is its prime speciality. However, as this saves me a lot of effort I’m really quite pleased the thing conducts its own twattery and doesn’t need me to add much.
I also have a lot of fun with the Neutron and its vast tuning knobs. You can basically look at those in a funny way and get them to detune. I try not to think about that synth much, in case it decides to get into an argument with me.
Also on Objective Linearity you’ll hear the DSI Prophet 12. It’s a great synth in its own right although it can be worryingly good at doorbells.
The entire gear list for this album is as follows:
Behringer Model D
Behringer Neutron
Behringer Odyssey
DSI Prophet 12
Korg MS20 mini
Korg Minilogue XD module
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10ms stereo delay, autopanning and phasing was used in-line to go from mono>stereo. Effects added in-line: Fabfilter Timeless (delay), Fabfilter Pro-R & Eventide Blackhole (reverb), AIR Filter Gate.

Some of the pieces here were relatively easy to program and perform. I would say it takes about as long as a similar piece using overdubs. Where the balance of effort changes is in the preparation. You do all of that first before diving in for a take. The two pieces which used all the synths (Temple of The WonkLord / Crimson Morning), took longer than a day to program and fail to get in tune. ToTWL Didn't want to play nice the day after either. I finally got a correct sounding take underway the following evening, which despite being interrupted both by mother and two cats, is the one you hear. It was attempt 47. No shit. Oh, and I'm playing lead on both these pieces for a change and because I'd got free hands and a spare Odyssey. There are a couple of things which make these remarkable for me. Firstly, they're both left-handed lead lines cos the synths I needed to keep tweaking were to my right. Secondly, the tune on ToTWL really was made up on the spot. After 47 tries and 3 sabotage attempts I finally reached the point where I'd planned a solo. Played the tune, thought "nice if I can remember that", then nearly didn't. By the time I wanted to play solo 2nd time, I had no idea how it went but it came out the same anyway! That was all luck.

credits

released March 31, 2021

RadioSilence is Andy Pickford.

Recorded to ProTools @ 24bit / 44.1Khz. 
Production Supervisors: Trubz, Pixie and Ginger

Take care of your ears: these pieces have a wide dynamic range which can be deceptive, particularly on headphones.

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about

Andy Pickford Derby, UK

I make immersive synth music, create my own art, eat, drink, shit and exist. I'm not famous but everybody knows my name... like shingles.

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