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 w/subwoofer) 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 here, 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 forgotten my Zoom recorder in Prague, I purchased an inexpensive 32 Bit Float Zoom replacement. After researching this technology, however, I still didn't quite understand the difference between the old and new—this was just cheaper. When the new Zoom H4n arrived, I was suspicious 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 almost returned it. Then I watched a few more video reviews, decided to test it methodically, learning that for my particular recording interests, it may be better than my existing recorder. For years I had been using 24 bit 48k settings but was soon convinced by this odd H4n. Indeed, 32 bit float technology was something like putting an atomic microscope on my found instrument preferences... These FF works were not possible using the old technology. As mentioned above, sadly, they also do not present well over an iPad or iPhone. Ear buds help, but the vertical-timbral and spatial spectrum is still missing. A larger capable stereo performance system with subwoofer are really needed for detail. Therefore, Float technology may push patrons back to the concert hall, to better auditioning gear, or in the opposite direction where ignorance is bliss and a trully blissful experience missed. The iPhone with earbuds is a just-adequate device for audio or video. The works presented in the middle column, at 48k, are related to the original 32bit float .wav files and yet inadequate.	Attenuate tracks individually. Seven Moveable Sections Quick Smart Honest Work Ochablı Zadek Forgiveness (Part 1) Forgiveness (Part 2) Forgiveness (Part 3) Forgiveness (Part 4) Forgiveness, after the intial recording, was separated into 4 parts, the work through-improvised in the sequence presented. While the work "works" as a whole, these parts have unique sub-variant characteristics framed by these pauses. 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. Again, these works rely on "microscopic" listening gear. Earbuds, or better, must be used as they are intricately spatial, timbral and atypically linear. Jello Mold, a related work, was made using the same recording setup and similar household objects 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. (more)