About Nirmel M
Debute le Solfege a 4 ans puis la Clarinette a 5 ans au Conservatoire de Chenove (Dijon)
puis entre sur concours en Superieur au Conservatoire de Dijon en 1993
Demissionne du CNR (CRR) avec
une 1° medaille de dechiffrage, une Mention en musique de chambre et une Mention Tres Bien en fin de cycle Diplome,
s'initie a l'interpretation des jazz, l'improvisation, le gospel, le ... read more
Hello, and a s I said soon, welcome to new subscribers.
Some people wonder why I have not soon signed with a major compagny. I want to explain it more, it is a little bit more complicated.
Here is a few years, I met a representant of Dreyfus Jazz Compagny, as I used to sometimes send my plates to three compagnies, Dreyfus Jazz in these three majors. I sent four of five plates, not more, as I didn't want to insist nor supplicate.
He asked me if I had a project to propose to Dreyfus Jazz. It was a time when I had not other musicians as it can be in the timelapse between two musical projects, and I answered him "no". But...
In the soon 1990's, I had thought to this type of situation, and I decided to refuse all contracts and all contacts with majors or producers. So, it was not a problem to refuse to Dreyfus Jazz to sign. I turned back thinking, and said to me "Why not trying to present them some project, I can surely find some musicians with a minimum of technic capacities to record my compositions." So, I tried to find four musicians, and a repetition studio, and found. We started to work on four compositions, and day after day, the musicians decided to renounce to record a project, as they didn't want to become professionals, as they just tried to find some shows during four years because it is the legal condition to pass the DE (Diplôme d'Etat), as the law say you need to be professional four years in order to be allowed to present the diploma. Some days after this, I knew the commercial I met had decided to work with another compagny, maybe has he been fired from Dreyfus Jazz, I don't know exactly. And that's all.
So, I don't want to sign with a compagny or be produced, that's why I keep on being in freelance, Independant and Non-Salaried Worker (TNS in french language). I am not in concurrence with majors, but I don't want to quit my independancy, as "ma petite entreprise connaît pas la crise". Even if Columbia or Warner or other would sign with me, I should refuse at sure, as there is no need to try, as I should refuse an interview to M6 or TF1, or the big medias, capitalistic advertising production societies I don't support.
So, effectively, firstly, I think I am the only one musician that improve really, that does not recitate written parts in shows, and secondly, I think I am the first musician that has refused to sign with a major, and, of course, I don't want to be in the Guinness Records Book nor in the Reader's Digest. I just live my life, independantly of what seems to call a systema. That's all. Happyness around you!
Welcome to new subscribers!
I have added an new activity to my auto-edition and auto-production activities: engraving with laser carving postal cards with some of my pictural works.
These cards are three sections to fold over, to scotch with an internal double-face scotch, to stamp and to post.
They are engraved as I don't use anymore ink even for my letters or for my auto-editions, as I am working on a method in order to not use ink even for colours.
I am the first one and the first enterprise to use this laser carving method.
The price is a littel upper than other postal cards, because the time to engrave each is long and precise, and even for my auto-editions as my "Traité d'Acoustique", the time spent to work on the writing as the edition as the realization by this laser engraving method are very long. Effectively, I can spend quasi one day on each page of this type of edition. It is the startings of this method, and it will be ameliorated, but for the moment, it is hardly long. It is why the price can be elevated. I think years after years, I will be able to reduce it, but for the moment, I cannot.
I think it can also help to make the prices in general, relatively to my works and my methods, drop down, that I start selling relatively expensive, and drop my prices some months or years after.
It should not be the same thing for concerts, of course, as each musical show is new and different from the precedent, and if I add some new plates, mathematic, mitterary or pictural (or other) pieces, I won't reduce the prices in order to devaluate moneys, I keep in mind this aspect of the economic values.
So, now, the laser engraves the paper, and trace the pictures without a drop of ink, in all my works and letters, and don't use anymore the printing methods, but for the declaration to BNF of my last work that should spend months to be done, maybe more than one year, that is not recommended.
So, I will soon announce the new prices of my auto-editions, and I will add models of cartes-enveloppe regularly on my official website at link . These cards in the same time self-seal envelope, can be placed in a large letter envelope 14x10, and can be placed on a furniture, or to offer even for birthdays.
So, it is my new activity, added to the numerous artistic activities I practice in freelance.
Wish you smiles around you, and to participate to a progressist Universe.
Hello and welcome to newcomers.
I wanted first to wish you a happy new year and a lot of personal progressist productions.
This message has a new theme about what I think and related as to music as to electronics.
If you have listened to some articles on Radio France Culture, in sciences, you can have noticed that there is a student in a french university who is studying emotions and waves about emotions, as there also is a student working on reading thought images by electrods posed on the head.
This student has analyzed brain and body reactions, maybe in clinics or hospitals without telling to patients what he was doing, and has recorded a "shiver wave", mesured in wave length. I don't know what wavelength it is, but I know he has recorded it, and it may be is actually used by some people who wnant to manipulate brain by body shiverings, shivers that can be augmented in voltage step by step till electrocutions. It is concretely possible to do this.
If you remember Tintin from Hergé, you may remember nazies working on a machine thaét can destruct by the sound at distance. I think it is a student and teachers universitary domain research.
I tell you this in order that you should distinguish what can be real emotions, as when you listen to music, mine for example, where there is not my expression in my electroacoustic pieces, but where there is the expressivity, as in "La Fin de Satan", that is a strength energy, even for me.
But there are some people, traditionalists, anti-democrats, that can try to add in sounds on the internet for example, this type of shiver wave, in order to provocate pleasure or electrocutions that should be related to their telephone ou radio, link., screens in shows or spectacles, etc, as these students, teachers or scientists or other, are not competents in electroacoustic mathematics, as they think, generally, that electricity is magnetic. You must know neither the body, nor the electricity is magnetic, it is not a composant of electricity, and the soul of electricity doesn't exist.
There is a method, simple method to make spying people, that some big enterprises use telling that they should need commercials to know by client contact, as they don't need commercial to know as spys: if you connect a sound speaker as a microphone, it becomes a microphone, and the reverse is possible too.
So, radios and link use this technic since a hundred years or a hundred and a half years.
There is a return of the sound, as in the voice: when you emit a sound or speak, the return of the sound of who can listen to this sound can be audible by the effect of ping-pingback as in a TV or a radio, even a computer. It is a principe of electronic communication by radio waves. It is not sufficient to have a space where there are waves, but if there is the sound, the back wave can contain your thought, eventually by the breath and vocal cords. If you try to record it, there is a problem, as it is not sufficient in decibels to be recorded, as you should record noise, but neither thought nor vocals or breaths, just noise.
So, if someone detects you listening to a mp3, or watching link., or reading a book, or using internet, if there is a sound contact between you and this person(s), you should be victim of spying. If you listen to radio, your breath and your vocal cords can be audible by who speak at radio, the same thing is possible with link. or with radios on the internet, just because there is a sound return, a sound back, a sort of feedback. It is a spying technic.
It has needed for me some years of studying electroacoustics to understand this, and my independancy, as there cannot be pression on me to tell this.
This can explain lots of things in social events, as in some accusations of "schizophreny", an illness that is not coherent with the definition of illness, as voices who comes from nowhere cannot exist.
I think that schizophreny doesn't exist.
And if you have felt some shiver and emotion twitches, it is possible that it were only electric radio waves, maybe from portable telephones of your neighbours, or radio waves from Radio France Info, or link. radio waves from TF1 or M6, or other Lagardère enterprises, or from images making light and producing photon waves, light waves in your back when you were connecting to internet and decided to go and make a coffee five minutes, etc.
It is not 1984, in really, the project that traditionalists want to realize, but it is the sum of all bad projects they have not renonced to, as colonisation for example, or as in Simulacre from Philip link.
I don't inform you in order to frighten you, but in order that you can prevent yourself from this and distinguish what is emotion and what is radioelectricity, knowing that electricity is not magnetic, but traditionalist don't know it is not magnetic.
After reading this, you have win strength, and if you are democrat, you have also win smiling more, and if you are socialist, you just have win. It is not complex, traditionalists have no knowledge, and their experimentations sometimes explode at their faces as they want that everybody should experiment in order to laugh to explosions from their link, radios or newspapers.
That is a strength to know it, to make a really better world.
So have a smiling new year, knowing more what is an emotion.
I can just add this: you can read about 50 pages freely, in streaming, of my comments on facebook and my maths discoveries, from the more than 1200 pages I auto-edit actually, on my link page, searching for "Traité d'Acoustique".
Happy new year to you, this really better world, Paradise on Earth, constructing.
Hello and welcome to new fans.
I have had a dream one day, a few years ago, that was to install amplification on the whole planet to make a concert which should be diffuse everywhere.
As internet is an international telecommunication system that can diffuse sounds, it can be real.
I propose to you to place on your computer my page, in order to listen to "Main theme La Fin de Satan",then, "Fugue sur un theme de Cherubini pour le Prix du CNSMDP en 1813", then, "Fugue sur un thème de Théodore Dubois pour le Prix du CNSMDP en 1899", then "Fugue sur un thème de Théodore Dubois pour le Prix du CNSMDP en 1900", then "Fugue sur un thème de (M.)Thomas en 1888 pour le Prix du CNSMDP", then "Patience", then, "Heloïse et Abélaar", then, "Fugue sur un thème de link pour le Prix du CNSMDP en 1887", then "Non-symbolique mouvement 3", on the 31 of December of 2027, at each exact hour one title, since 12 o'clock to 21 o'clock, one by one, as the sound in each place of the planet should coordonate to make a big concert at home which sound should elevate to the high atmosphere and maybe the sky (NASA and ESA should mesure the distance of the sound, then, seems to me): at 12h00, "Main theme La fin de Satan", at 13h00, "Fugue sur un theme de Cherubini pour le Prix du CNSMDP en 1813", at 14h00, "Fugue sur un thème de Théodore Dubois pour le Prix du CNSMDP en 1899", and so on. I have decided to propose to you this musical sound project for December 2027 the 31th, in order to let you have sufficient time to practice defense activity, as I know that democrates should risk to be identified by extremists by the fact of listening to my music, and to securate oneself. It is not a proposition of diffusion of music by the windows opened and amplification at two hundred watts, but to create a sort of sphere of sound around the planet that should elevate in the air (it is not hands up in the air but music sound up in the air).
If you should be ready for this date, then it can be done, it should be the first international concert at home, as if I should be playing on a unique scene that the sound should be listened on the whole planet simultaneously. It should be my present for the new year day of 2028, in ten years. I will recall sometimes this project in which you should be the sound engineers.
Have a good day, and remember the date of this concert you should play with me: December 2027, the 31th since 12 o'clock to 21 o'clock, in ten years and some days!
Hello and welcome to new subscribers.
As I didn't gave you news since weeks, I was waiting for a moment to give you veritable news, important news.
Firstly, I still continue to make researches in mathematics, in acoustics, and to trace graphes on paper, scanning most of my results on my facebook page.
Evidently, I will auto-edit my equations in one or two books, and I still will continue to study acoustic mathematixs.
I want to inform you, to precise, that I don't use the invalid experimental method, and that I have not laboratory, and of course, no subventions, as I don't want. I just use paper and pen, and a little calculator for numeric results.
As I have been studying this domain since more than three years, I have discovered two new methods to calculate a new type of harmony, a new type of assembling sounds, that can be written in solfegic writing, on a score, on a part, but that is not the two types of analysis, of harmonic analysis, the scholar and the cyclic harmonies: it is really two new types of constituting chords, and to constitute scales.
And secondly, I have made the plans of a new type of computer: the actual computers are binaries computers, computers in which there is just two solutions to compose alogorithms, and to calculate, they don't calculate with lines of the ten first numbers, but only with two. My type of computer calculate with the ten numbers, from zero to nine.
I also discovered and calculated of course, because I don't use anything but paper and pen, without even meter to trace graphes, a new analogic electronic component, that can be a real perfect amplificator, because of it is effectively not a numeric component as ampliops are numeric connexions of transistors principally, but an analogic system. This component is quasi an amplificator at itself, there is no need ampliop to function as amplificator.
Then I still have continue my mathematic researches, writing equations and equations, and I think I have made other discoveries, and say "think", because I don't know if Shiva in the early Indian epoqua who was a mathematician, had calculate these functions.
This point first. I have read some teachings at schola cantorum of Vincent d'Indy approximatively at 1900, and I have understood that there has been a lie in the History, the musical history: at Xth century, there has been an apparition af solfege writing, with five lines and ten notes, and the name of notes has been issued from the religious sing "Ut queant laxis". It is not exactly the reality. When you can study the Indian notation, in sanskrit, you have twelve notes as in solfegic writing. And apparently, the reason of Inquisition at Xth century was officially, the organisation of a contest with a price, which consisted of inventing a new type of notation. Effectively, the precedent notation was as a bouddhic writing, with curves and lines, and the precedent was that every musical analyser know, the neumes. So, it is evident historically that there has been a colonial epoqua in Xth century when Inquisition decided to colonize India, and mabe probably China and Japan, as it is at this century that suddenly appeared mathematic advanced knowledge in Europa, and it was near some centuries when there weren't relations between India, Orient, and Europa, England included, that the Silk Road was not established, and the Crusers weren't in war. It is so little by little that the colonisation has been made, in order to exploite notabily the mathematic and artistic knowledge of Orient, and precisely India, as India was the goal of colonisation even at the early epoqua when India started to unify (cf. Mahabharata and Bhagava Gîtâ that is the txo component of the India History there were apparently near by two hundred thousand years). So the solfege writing with five lines and twelve notes was the result not af a contest, but of a conquest, a colonisation of India by first Crusers, first Inquisitors, near Xth century, a steal of mathematic, acoustic, musical, architectural and other artistic indian knowledges in early India accumulated notabily by one of the first mathematicians that has been Shiva near the Himalaya. I have had memories of some historic episods and mathematic confirmations of what I was remembering during my mathematic research, while I was writing equations and reflected to them, as when I suddenly have seen graphically that I was reason. There are too much similitudes between my graphics and equations and some events and discoveries revendicated during millenaries since approximatively roman and greco-roman epoqua that confirms that I am reason. Even the name of Zeus is in mathematic equations, certifying it wasn't a divinity, but someone who has been in the illusion that an equation about electric tensio and impedance in acoustics could give power, pretending to protect the Gods, so the original families in India as this of Shiva (whose family name wasn't known at his life epoqua), and the Knowledge, the secret of the origins, the mystery of God, that wasn't a protection in reality.
So, the equations I have been writing have probably been calculated by Shiva, and I have kept this memory, as when I write equations, the solutions are quasi-evident for me, sometimes, it is as quick than a bebop chorus really improved without preparing.
These equations are in a second time my discoveries, because they are not on wikipedia or in the most of the written teachings about mathematics and acoustic mathematics, and my mathematic researches are all about music and artistic domain, of course (and of course because I prefer study mathematics in arts than in military domain, tha doesn't interrest me, even if I have discovered a best method to produce antimatter than the experimentation that has been made some weeks ago and that has fractured North Pole ice on seventeen kilometers as you can know, antimatter that I have forbidden to make with my method that doesn't use energy additive, but is just a mechanical principe). So, I have had proofs that microprocessors could exist two hundred thousand years ago, as Shiva could spend his time writing and writing equation in some mud bricks or tracing graphes on caverns walls with some bifaces. I have found sonumerous similitudes that it is for me an evidence: 64 cases on a chess plate and 64Hz, graphes with boat sails or harps forms, or bifaces forms (as Shivait women form, the little point as a flame between the two eyes), indian art as polytopes forms, and so on. All these equations are issued from acoustic mathematic studies. And as it has not been repertoried in mathematic actual studies since more than a thousand years or more, I have written these equations that I have solved, and it can be named my discoveries, my personal discoveries. It is what I will soon autoedit, and you have some results, as I told you in my precedent posts, in some of the sounds I used in some of the musical titles I have placed for streaming here. Some of the sounds if you have compared, as the same as Theremin or Minimoog sounds, that I didn't experiment, but that I calculated and have traced just with Audacity, in order firstly to affine my ears in order to be able to identify some types of electronic sounds as the sound from a condensator with no slew-rate and so on. Effectively, my mathematics, my results are some complementary results about some startings of mathematic researches in diversified mathematic domains, round about acoustics and arts.
So, my thoughts road has conducted me to propose to you "The End of Satan". And this is why I decided to write this evening my message.
This text, written and thought by Victor Hugo near 1880, is a complete text, and an exegetic text.
As some people, conservatists, have prayed Satan, even if Victor Hugo has written a text that proofs that Satan is dead, his or its soul, during more than a century year, a hundred years, so millions and millions and maybe billions of individues have prayed Satan during a period after the official and religious dead of Satan, date of death of Satan officially 1884, they have prayed nothing and nobody night and day. It is more than a hundred years that it is impossible that a Satan soul should exist. So even nazis during second world war were talking to nobody during talking night and day to Satan, of course, Satan was dead, the duration of La Fin de Satan and the text being a religious and spiritual proof (if Satan should eximore of two hundred pages of the text couldn't be written. So satanists are mad people, praying nothing and talking to nobody. If you listen a little to some of them, there is no Satan, neither in nor outside of the Universe. They are concretely mad, completely, proof made since more than a hundred years they have talked and still today to a Satan than didn't and doesn't exist. It is the satanists that have certified Victor Hugo of the death of Satan, and the fact itself of the duration two times, firstly by writing, and secondly by me by my mouth in seven plates is the proof of the realistic of the text, the spiritual proof. The Satan that is designed in La Fin de Satan is in reality Sade, as some words in the text can indicate. It is not Sade that has didn't exist, but Satan. There is so no soul and no incarnation of Satan: Satan is impossible. Praying death or dead peoples is an illusion, praying Satan is a madness, a psychosis, it is as praying plastic, or praying a quasar, there is no soul and no ears to listen, and no vocal chord(s) to answer, nobody can talk or write for Satan, because Satan doesn't exist.
It is what is important for me (and for Victor Hugo who had said "dieu jugera et reconnaîtra les siens, et l'on verra bien si les satanistes continuent après 1880" and the satanists have continued to pray in the void and to talk in the void, as at the present moment and nowadays, nobody and nothing listen to them), to say this present message, to write it, here on the internet, on the site where is this mine message and La Fin de Satan in seven episodes. You understand so that it cannot be link doesn't exist, so nobody should and can incarn it or him or her. Well, it is not for the cinema that this exegetic text has been written, edited, and that I decided to record it several years ago. Even what I said to you here is important to know and I prefer these mine messages to be assembled here with the audios.
Well. Good life for you whole, democratic peoples that want Good and Justice on Earth as in the Skies, as there is only one world and one temporality, as there will not be ends of the time(s).
See you later.