Four Floaters (2026) by Dan Senn, Four for stereo speakers


2026 For volume control use Google Chrome	Four Floaters by Dan Senn For Stereo Speakers (Use earbuds, headphones or large system) Total duration = 16'02"
Four Floaters (2026) was edited at Gasworks Studio in Prague, Czechia and recorded in Studio FMErá in Watertown, Wisconsin, USA. All the recordings are based on improvisations made using incidental found objects, including that in the banner above. Use earbuds or headphones at a minimum, or connect your device to a advanced sound system. Contact the composer at rakutoo (at) icloud dot com for the 32-bit float .wav versions. In the late winter of 2026, having left my Zoom recorder in Prague, I purchased an inexpensive 32 Bit Float recorder. after some research I still didn't quite understand the difference between the old and new technology but this was just cheaper. When my Zoom H4n arrived, I was immediately suspect as it was missing most of the controls I was familiar with. There was just a record button! Any idiot could use the thing... and so I nearly returned it. Then I watched a few more video reviews and decided to test it out gradually, methodically, learning, suspecting, that for my particular sound recording interests, it may be better than my forgotten recorder. For years I have been recording using 24 bit settings but was soon totally convinced by this weird H4n. Indeed, 32 bit float technology was like putting an atomic microscope on my peculiar sound in a way that revamped my editing techniques especially using very good external microphones. These FF works are not possible using the old technology. As mentioned above, they also do not present well over an iPhone. Ear buds help, but the vertical-timbral and spatial spectrum is missing on an iPad or iPhone. Therefore, this Float technology may push patrons back to the concert hall, to better auditioning gear, or in the opposite direction where ignorance is bliss. The iPhone is a just-adequate source device for audio or video. The works presented in the middle column, at 48k, are thusly related closely to the original 32bit float .wav files.	Attenuate tracks individually. Four Moveable Sections Quick Smart Honest Work Ochablı Zadek Forgiveness The track with the Czech title, Ochablı Zadek, has a foul English equivalent, my partner Caroline suggested was in poor taste. Americans are a little uptight in this regard whereas the Czechs, not so much. All the titles are derived from impulsive responses to just-completed work—a retrofitted metaphor—even if I almost never compose to elicite specific meaning. I just struggle with the materials at hand and when finished, or nearly so, I revert to being a listener and react by giving it a name. This is hypocritical, to say the least, as I've harshly criticized "meaning in art" as it usually includes mirroring precedents that assists deadening the brain. I'm off the hook here, maybe, by admitting to belated metaphoric connections precisely at the point where the line has been crossed—where the artist becomes a patron. For the third time in this text, these works, and others like them, rely on "microscopic" listening gear. Earbuds, or better, must be used as these pieces are spatial, timbral and atypically linear in the classical sense. Jello Mold, a related work, was made using the same recording setup and similar household objects as instruments and could be part of this page site except for some compositional peculiarities.	Performance Ordering: FF may be performed sequentially, as presented in the middle column, or reordered with a brief silence between sections. Or they may be presented as a stereo-quad work, with one section played over the front speakers, another over the back speakers either simultaneously or introduced gradually as if interwoven. It is Ok to perform only one, or two, or three of the sections. They may be interspersed between other compositions on a concert. Any combination of these may be used for dance accompaniment or as background to nice meal. DS043026 Sophisticated recording setup. Dan Senn (Prague-Watertown) is an intermedia artist working in music composition and production, kinetic sound sculpture, installation work, experimental and documentary film. He has been a professor of music and art in the United States and Australia and travels internationally as a lecturer, performer, producer and installation artist. He lives in Prague where he directs the Echofluxx Media Art festivals, and Watertown, Wisconsin, the USA, with his partner-collaborator, Caroline. Dan's work moves freely between expressive extremes and languages depending on the aesthetic joust at hand. He is cofounder of Roulette Intermedium in New York Cty (Brooklyn), Cascadia Composers of Portland Oregon, and the Echofluxx media festivals in Prague. (read more)