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 welcome to new subscribers!
Some of you asked me one day why I had placed some titles two or more times successively. I didn't understand exactly, because I was concentrate during doing this on the goal of the procedure, but, listening newly yesterday evening, I remembered what I thought.
The pieces of music I placed two, three ou more times, are pieces I have recorded with different sounds, and it is more a procedure in order to know how sounds the melodies changing the sounds of instruments, that trying just to record different versions, as there are not a note changed: you can prefer for example, the third recording because the sound is more soft, or another version, of the same piece, because of the sound that are different.
I want to add here about it, that the sounds are mine, sounds I have made with sometimes Audacity, sometimes another software(s). These sounds doesn't exist but in my music pieces, the seem to be sometimes as MiniMoog or other synthesizers, but they are not replications of these synthesizers, and I can explain why, but it is a secret of fabrication.
Remember I said in precedent posts that I have noticed that sounds in software were not really clean, and I have also noticed that sounds in electroacoustics instruments are not clean too for the most of them or totally. That is why I decided to make, construct, my own electroacoustic instruments, my own computer, and my own softwares, with my own electronic components, that is why I started or restarted to study electroacoustic and acoustic mathematics. But, firstly, as I didn't want to make people wait too much for my music, as I know some people enjoy it really, I decided to draw my own soundwaves. That is why there are sometimes two, three, four, five recordings of the same piece, but not with the same sounds, that are mine ones.
Now, if you have listened to pieces as Suites for cello I recorded at the bass clarinet, you have notice there are sometimes notes that are not really clear, and that is for three reasons. Firstly, I didn't know when I recorded, but radioelectricity can have impact the keys of the instrument during I was reconrding. Secondly, the clarinet was aged, more than twenty years old, and it was a bass clarinet that had different origins: left hand was from a clarinet, right hand was from another clarinet, etc. The third reason is a reason you should apply to every instrument of music, and it is a bad reason, traditionalist reason, about construction, making of the instruments: for winds, and woodwinds, and you can listen it in my recordings, the pression of the instrument is augmented by the diameter of the pierce, as the resistance of the instrument is then more than it should be. So, I have to concentrate sometimes on this artificial mecanic construction resistance of the braith during emission of notes, and so, the concentration is no more on the music, the musicality or the reading of the part, or on the improvisation and what to express. You can notice it in my pieces when I try to go more and more crescendo, more and more forte, where you can feel my sound translating I want more forte as I cannot because of the fabrication of the instrument. These instruments, maybe each, all instruments, even violins, cellos and pianos, are made limiting their maximal forte, emission in decibels (max(dB)). It is a pseudo-educative fabrication, in order to perturb practicers to make make efforts for no reason more than necessary, in order to select people who should practice from others, but it doesn't need this hypocrit procedure. And, of course, I didn't count it here, but a reason why you may have impression of distorsion in sounds, generally aigues, but I know how to not impulse these distorsions, is because, sometimes or maybe at each time, some people sing in the same time or make noise, or talk, in order to perturb the sound and the practicer, and it is evident in some of my records of Partitas of Bach, I have noticed it yesterday evening. That are hypocrit technics from traditionalists, jalous pedophils that want to deny the guiltness is firstly pedophily, as psychoanalysis books permit to understand this evidence. It is a supplementary and complementary proof that schizophreny doesn't exist: voices from nowhere don't exist, and noise from nowhere no more, as music from nowhere no more too.
As my post here is a lightning of what is sound and music, you may better listen, understand and enjoy my music. So, that is good.
Wish you smiles around you, and the best in the life as in the Infinite Universe.
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!