is an experimental electroacoustic music project fronted by multi-instrumentalist, composer, audio engineer, and DSP programming specialist Andrew Grathwohl, and violinist/music educator Garrett Semmelink.

We exclusively perform works which fall under the banner of Grathwohl's Sonic Multiplicities musical framework.


October 16, 2019

We have been on a lengthy hiatus, in order to focus on honing the SM software and to expand the intellectual and philosophical breadth of our musical explorations.

What has resulted from this is a complete facelift for our internet presence (all of our online and social landing pages have new URLs, make note of the links at the top of this page). In addition, we have made a couple of major decisions.

First, we will be reserving all rights for our future music releases and any/all adjacent output. To make up for this decision, we will no longer charge any money for the digital copies of our releases. We will also price all forms of our physical releases at cost. Making any effort to directly profit from our musical ambitions, we have decided, would compromise the integrity and the value of our pursuits. It would also directly sanction the absurdly inadequate place music finds itself within our broader media ecology.

Second, we will not be placing our music onto platforms which have recklessly and inelegantly compromised the integrity and positive externalities music has to offer society. This means that Spotify, Apple Music, Tidal, and all of that ilk can go take a hike. Our music releases will officially be cataloged on the official SM podcast feed. Links to FLAC, MP3, and OPUS copies of our releases will always be provided, without exception.


SM is an interactive musical synthesis application and performance framework developed by composer, multi-instrumentalist, audio scientist, and DSP engineer Andrew Grathwohl. Its goal is to be seamless yet simple; hidden from plain sight, and yet so powerful it can provoke lasting, aesthetically-pleasing memories.

What makes SM unique is its approach to real-time control; musicians "play" the SM software by the explicit musical choices they make, encouraging a gestural performance methodology rich in complexity, opportunity, and extremity. The skilled sonicmeister is aware of how even the smallest modifications to intonation, harmony, rhythmic timing, and motif leads to massive and radical musical events.

This software implements, via a variety of deep-learning, neural network, and probability approaches, a complex and artificially-intelligent musical accompiament, which serves to multiply a musician's performance, rather than simply serving as a sideman or partner.

Inherent in SM's design is a human-like collection of intentional flaws in the logic system employed. This is what separates Grathwohl's music from most other noteworthy approaches in the musical AI space; it maintains the humanity that makes music both possible and enjoyable. Music is the highest form of communication ever implemented by humans - we cannot entrust it to mere computer calculations. Within all SM actions is the burdon of intent, which, if satisfied by the performer, enables from the performer further degrees of control over the SM system.

Personal computing should have generated a new musical golden age when it first hit humanity back in the late eighties. Unfortunately, it has generally served not to expand musical possibilities, but rather to make more expedient antiquated and boring traditions from past musical eras. From DAW applications to streaming audio delivery platforms, music technology has promoted laziness, cut fans off from points of engagement, and left us stranded with no record stores from which to seek advice, nor any digital solutions for those seeking an alternative approach. Pedagogy shamelessly parrots the ideals of the old masters, frivolously clueless to how antiquated and out of touch they are with today's musics and today's friendly listeners. We intend to propose changes to these out of touch approaches, through exercising our musical and artistic consciences.

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