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IVOR DARREG – Live in Glendale, 1984 – RARE, MASTERED, FLAC also MP3. Free Legal Torrent. #microtonal #xenharmonic


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Recording of Ivor Darreg (American microtonal / xenharmonic music pioneer) performing live in Glendale, California, Friday, May 4th, 1984. (Remastered)

File length: 2 hours, 20 minutes, 24 seconds.

Ivor + other musicians in chamber performance. Includes Ivor talking some between songs, about the music and the instruments.

“Ivor Darreg (May 5, 1917 – February 12, 1994) was an American composer and leading proponent of microtonal or “xenharmonicmusic. He also created a series of experimental musical instruments.”

He coined the term “xenharmonic”, which he described thusly: “I devised the term ‘xenharmonic’ to refer to everything that does not sound like 12-tone equal temperament…..(it is) intended to include just intonation and such temperaments as the 5-, 7-, and 11-tone, along with the higher-numbered really-microtonal systems as far as one wishes to go.”

The term xenharmonic is from xenia (Greek ξενία), “hospitable,” and xenos (Greek ξένος) “foreign.”

Ivor says at one point in the recording; “Copy tape from Glendale, California, Friday, May 4th, 1984, from a 4-track reel machine.”

Ivor Darreg originals from a cassette given personally by Ivor to Johnny Reinhard of the

Thank you to the The Xenharmonic Alliance for making it possible to meet Johnny.

Mastered and torrented by Michael W. Dean of BipTunia.

A more extensive archive with more copious notes will be coming from Johnny, that’s the plan, this is a quick ‘n’ dirty preview.

This was made from 128k MP3s of a second-gen cassette dub of a poorly recorded field recording at a live performance that didn’t have the mics set up very well.

I did what I could, and it’s a little more listenable now.

Mastering notes:
–Made MP3s into WAVs. Then sewed 16 files together into one file.

–Did very light noise reduction in Audacity to reduce the copious amounts of tape hiss.

Didn’t do a lot of noise reduction, didn’t wanna reduce clarity on harmonics or introduce artifacts.

–Chopped out looong spaces between songs where there was only silence and/or tape hiss. But left in spaces between songs where you can hear the moving of instruments or ambient sounds. At one point, you can hear birds outside!

–Then in Izotope, I:

–Reduced the huge dynamics slightly

–Reduced the stereo field a bit. The original tape was some instruments all in left channel, and some instruments all in the right channel. Also, the mics were out of phase, and I corrected that a bit. Didn’t do a lot, wanted to preserve some of the “you are there” feel. But there was really too much in the way the original recording was made.

— Maximized the volume slightly. The tape was pretty quiet, and in some places, very quiet.

–Boosted the high end very slightly. It might be too much for some people, but is to allow you to hear the harmonics more. If it’s too much, turn down the high end. But better to have it and not need it, then need it and not have it.

–Output to a single FLAC file, and also as three MP3 files.

–Released it on torrents


“For authors, obscurity is a far greater threat than piracy.”
–Tim O’Reilly

Not sure of the copyright status of this, if any. Most likely what would be considered an Orphan Work. Or public domain. Or Fair Use under the immense historical value combined with the fact that it’s not commercially available. And Ivor had no family. Didn’t ask permission. There’s no one to ask. So I just put it up.

So let’s say, given the anarchic (yet structured) nature of the this beautiful music, that it is covered by the BipCot NoGov license.

This allows use and re-use by anyone except governments and government agents. There are no government guns for violators, only shame.


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