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DAC Crowell
Age:	39
Location:	Rankin, Illinois, USA
Phone Number:	217-397-9915
Email Address(es):	dacc@soltec.net
Website URL(s):	http://www.aerodyneworks.com (currentlyinactiveasofmid-February2001-shouldbeupandrevisedlaterthisyear)
Projects/Ensembles:	Solo projects in ambient/electroacoustic music from 1979 forward, as well as occasional duo work with composer Kurt Doles. Past member of Internet-based synth ensemble Team Metlay (1993-97), Nashville ambient ensemble LVXUS (1986-91), industrial band Minimalogic (1982-84), noise ensemble EMz (1978-81).
Instruments:	Synthesizers/Drum Machines: Kawai K3, K5m; Roland JP-6, MC-202, TR-606, TR-909; Korg MS-20, X-911; Sequential Pro-One; E-Mu Proteus/1; Simmons MTX9; Boss DR-220A, DR-220E; Yamaha CS-80; DX27; ARP 2600; PPG Wave 2.3 + Waveterm B; Crumar Performer; Casio CZ-101; Seeburg Select-a-rhythm; Digisound Series 80 modular (24 modules). Other sound generation devices: Collins R-390A shortwave receiver; Hewlett-Packard 312A selective voltmeter/VLF-HF receiver, 200CD sine generator (x7), 202C LF sine generator; GenRad 1395A modular pulse generator system (x2 bays); Wavetek 142 function generator; JRC NRD-515 shortwave receiver; TenTec 1253 regenerative shortwave receiver (x6); Onkyo CD; Marantz PMD510 cassette deck; Fostex D-10 DAT; various computer software devices (Macintosh); Digidesign Sound Tools II system; Maestro Theremin. Non-delay/loop processing: DOD R-870 analog flanger; Alesis Microverb II (x2); Biamp MR/140 spring reverb; Fairchild Reverbertron II spring reverb system; Drawmer DS 201 gates; Symetrix SG-200 gates, 525 gated comp/limiter; ART Pro-VLA comp/limiter; Furman PQ-6 parametric EQ; Altec 9860 cut-only EQ (x3); UA 550A filter set; Aphex Type C; Burwen TNE7000A analog click filter; Burwen DNF1201A analog NR; Urei 527A EQ (x2) SKL 302 filter set, 308A filter set; GenRad 1564 sound analyzer/filter (x3); EMT 427A passband filter; Princeton Applied Research/EG&G CR-4 filter/preamp; Bruel & Kjaer 2607 preamp, 1617 bandpass filter, 2112 AF spectrometer/filter; Proco RAT R2DU distorter; Ashly SC-40 input preamp/EQ; Rohde & Schwarz UBM tunable indicating amplifier (x2); PTI Ecoplate II 6' plate reverb; Krohn-hite 330M bandpass filter (x2). Mixers, other: Soundtracs Topaz 24x8x2 mixer; Mackie 1202 mixer; Kawai MM-16 MIDI mixer/controller; Korg KMS-30 MIDI sync unit; Garfield MiniDoc sync unit; Opcode Studio64X MIDI interface; KRK 9000B monitors; Lantana TAD monitors; Crest FA601 amp; Alesis RA-100 amp; Yamaha 4x4x16 CD-R burner.
Looping Gear:	Ibanez DD700, DD1000, HD1500, Digitech RDS3.6, Yamaha SPX90, tc M-one, Lexicon LXP-1, LXP-5, Multivox MXD-5, MCI JH-110B, Tascam 80-8, Zoom ST-224, various software things (Mac-based).
Influences:	In no particular order: Brian Eno, Terry Riley, LaMonte Young, Can (and Holger Czukay), Karlheinz Stockhausen (attending the Stockhausen Courses, summer 2001), Martin Denny, Aphex Twin, Throbbing Gristle, SPK, NEU! (and Michael Rother), Kraftwerk, Cluster, Klaus Schulze, Richard Pinhas, Magma, Detroit techno, Gyorgi Ligeti, Alvin Lucier, Olivier Messiaen, Salvatore Martirano (studied w/, 1992-95), Konrad Plank, King Tubby, Scientist, XTC, Robert Ashley, Balinese/Javanese gamelan, Owen Bradley, Orbital, John Coltrane, Ornette Coleman, Pauline Oliveros, David Hykes, 16th C. vocal polyphony, Arvo Part, Kryzsztof Penderecki, Alvin Curran, The Velvet Underground
Musical Style:	Hard to say. It keeps getting pegged as 'dark ambient', but I tend to avoid categorizing what I do, myself. Mainly electroacoustic/New Music-type work. There was a flirtation w/ techno that went on 1994-99, but that's largely over except for random forays when I feel like it. Definitely NOT 'bar music'...which tends to mean I don't get much call for live work around Champaign-Urbana, the nearest venue-type town.
Recordings Available:	Techno-type stuff: 'Acid Test Card' (as 'Ekwanulti') on Influence...for which I didn't get paid. Steal this record if you see a copy. Several tracks on compilations by 21/22 Corp. (Columbus, OH, USA) and on the Internet IDM 'threads' comp. More representative material is currently available from Totemic Music, Portland, OR (http://www.totemicmusic.com), where there are several CDs of my work on this new label's catalog. Also on 'Mind/Body V.1' Internet industrial comp, and on cassette release 'Irritant' by Minimalogic, released in 1984. Duo release as 'OZMA' with Mike Metlay, 'A Huge and Silent Place', on Atomic City (http://www.atomiccity.com). Also on Atomic City on Team Metlay's 'Ballistic', and mastering/3-D enhancement work on Metlay's 'Ring of Fire'.

My very first solo performances in 1980 and 81 were loop-based affairs, performing solo ambient work using both tape-machine delay setups and echoplex. My earliest 'active catalog' piece also dates from 1981 and can be found on 'Indigo Static', released on Totemic Music; this is the Frippertronic-rig based 'Figures Drifting'. I've done quite a bit of work over the years involving loop and delay systems, including some pieces for acoustic instruments + delay, such as 'Before and After Music' (1980, for organ and tape delay), 'Labrador' (1987, for synthesizer and solo instrument with delay) and 'Incidental Polyphony I & II' (1988, for acoustic instrumental soloist with tape-delay). I also did a realization of John Cage's 'Fontana Mix' in 1986 which made extensive use of tape loops as sources for the final 16-track master take. One of my more interesting 'loop' works is 'Three Sine Settings' (1996, released on Totemic) for dual flanger feedback system and any number of harmonically and non-harmonically tuned sine generators, using the two extremely short delays of the flangers to build up feedback which is blocked and released by the various sine tones. More recent works, such as the shortwave-based installation 'Focii' (2000) aren't concerned with looping processes per se, but with the use of multiple delays and reverbs in various cascade and feedback systems to create complex 'blurring' of acoustic phenomena...building up layers of delay/echo loops and reverberant structures to eliminate 'detail' in sonic formations. Currently, I'm exploring the potentials of LINUX-based LAM architecture for the creation of supercomputing-based echo/reverb systems in collaboration with my technical assistant, Simon Shak. Vita: Studies began with piano, age 3-9 w/ Jean Colley, then 12-16 w/ Dr. Patsy Wade, Blair Academy of Music, Nashville. Band and choral music, grades 5-12, University School of Nashville, also private studies in composition at USN with Rick Palmiter, 1979-80. Electronic music w/ Dr. Thom Hutcheson, 1981, Middle TN State Univ., then left MTSU 1984-86 to get 'real world' audio engineering and music business experience in Nashville. Returned to study composition w/ Dr. Hutcheson, 1986-88. Graduated 1988, B.Mus., Theory/Composition w/ minor in Audio Engineering. Technician in charge of the MTSU electronic music lab, 1986-88. Graduate studies in composition at the University of TN, Knoxville w/ John Anthony Lennon, 1989-91, then at the University of Illinois under Salvatore Martirano, 1992. Left Illinois after one semester due to aesthetic differences, but continued private study/critique with Martirano until early 1995. Formed The Aerodyne Works Studio with the assistance of Dr. Lester Savage and SF/F authors Larry Dixon and Mercedes Lackey, 1993. Studio now located in Rankin, Illinois, awaiting remodelling of new space for the facility, to be completed Summer 2001. Will be attending the Stockhausen Courses for New Music, Kuerten, Germany in August 2001. Most recent appearance: premiere of installation work 'Focii' for shortwave receivers and processing equipment, October 2000, MACCM New Music and Arts Festival, BGSU, Bowling Green, Ohio.

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