Nirmel MOUCHIQUEL

Firstly, welcome to new subscribers/
Secondly, I prefer tell here once again some of my audios are the same composition but not the same mixes, making sounds that can never have been listened to adding my new composition technics that make new solfegias.
And then, there is one more of this type, re-recording of the same title, which name is Fugue sur un theme de Auber pour le Prix du CNSM en 1951. It is one of my fuguas, with a few notes that Mr Auber has proposed for the fuguas price of Superior Conservatory of Paris in 1851. I have treated the subject with the rules of the fugua, classically, but I have added creative technics and, of course, as it cannot be different, with my thought, those I have starting to develop in my books, in auto-edition.
This second recording of this mine composition has a sound hole in the passing-band, as I noticed something about cristals as the snow.
Effectively, if sun rays have an angle with a prism ou water rain, there is a decomposition of spectral audio and video of these rays. So, a cristal of snow is equal, a diffraction radio wave by radio wave, period by period, as if it was successive MLIs in superposition. So, it is an intrication of more than one wave, grouped by gravitation and origin of the sound and/or the light. It might be compared to a sphere that diffracts in different angles that the sum is 360 degrees. And it can be compared to a wave in an electric cable, with impedance and return of the wave origin continuously. So, it is as if a mix of audio should have been issed, with holes in the sound, in the frequencies, bt not temporarily... it is as this type of sound in this second mix of this theme of my Fugua from a subject of MR Auber in 1851. It is not very impressive, and it can recall you some sound soonly listened to, as old radios, and so on. But if you concentrate about cristals as snow, and you reprensent to you intrication of multiple waves, so you will understand better this type of sound and mix from me here. I think mixes thant seem to be the same way are not this intention from me in this mix to make you listen to the comparatively luminescence of cristals as snow or rain.
See you later, wishing you smiles around you, for a socialist future that will be, peace on Earth and in the Skies.

Welcome to new subscribers!
I do not know if I am the only one who has really made improvisations in music in the Musical History, but it seems to be real.
I do not know if I am the only one who has paint without help and without models and tools in the Painting History, but it seems to be real.
I yet have told this, but it still seems to be real.
In the music title I have placed today, La réincarnation de Solenn (P. d'A.), the goal for me during my composition and recording period, after having thought about what happened to her, was to know the reality of what happened.
Effectively, Solenn was an anorexic young women who apparently suicided in the parisian metro, an accident. But I know as I knew accidents does not exist, neither destiny nor hazard. So, she has been killed: what you should consider as accidents are not accidents, so the only one possibility if it is not accidents is murders. It is the same thing for what should be understood as schizophrenia, that does not exist, as one individu cannot be two ones or less than one, and voices that are produced from nowhere or by dead elements does not exist no more, and people that seem to suicide, in reality have been suicided, have been killed or have subit murder tentatives.
If you have read some books about this young women, you should have noticed that you can think equally to the Rwanda genocid, relatively to some date, I know well, when I was younger and when I started to produce on scenes round Dijon in France. I prefer tell once more here that my first big show was at Beaune at its theater, diffused by Radio Parabole-Radio Chrétienne Française, on the 31th of March in 1994, so, seven days not of wedding, but before the rwandaest genocid started. I have also said this, but I have to tell it here: on the scene, I started to think to the death, but I have not interrupted the show and its recording and diffusion by RCF. I was thinking about my lycean life at the epoqua, thinking also to the films about Sahel and lepra, difficulties to find water and so on, when I was a child and when I reflected to solutions which have been applied a started to solve the problem, in the Burkina-Faso which name was Haute-Volta. One favourite title of public and musicians when I was on stage or working in group, was "Nobody knows (the trouble I've seen)", and a part of my thoughts were about these images about the situation of poverty in the world, in the Africa and in Burkina, that needed answers, not totally, but a part. Solenn knew about all this, also TF1, Lagardère, and so on, even Sarkozy and Vedrine who has told at France Culture when you decode his hypocrit way of thinking and express himself, he was gaulliste, so, collaborationist and monarchist, so, sarkozyst. That is what I think, and the political historical analyzis (will) give me reason.
A solution for the death of Solenn Poivre d'Arvor, is so that she was murdered because she had something to say before the rwandasis genocid in order to denunciate it and to try it not to spend.
I prefer tell here and now that if I had known this genocid should have spent after my first big show and even a week after this mine show, I should have interrupted the concert in order to try to save people, to stop the genocid before it should have started, but I did not know, so I did not said nothing about it. It is when it started, and when I saw Sarkozy telling he would save all people he could save, that I knew it was too late to save people. I thought the french army should participate to the genocid, and in reality, it has been not better, as the french army filmed and has made constatation of the genocid, without trying to stop it, more, even helping genocidars to quit the Rwanda illegally.
I was not in Rwanda.
And nobody has tried to stop the genocid, but some people who knew as Socialists, some people at the ONU, certainly Solenn P d'A, and I did not know the genocid should have been and my first bi show has been seven days before the genocid in 1994. I was 19 years old at this moment, and legally had to be in the french army, but I was not in the french army, because I was declared mad and with suicidary tendancies, P4. I will survive, some people said. And I have survived. Of course, I was sick, trying to fight against medications with opiacees, old medications, and I had not an instant to think to the Rwanda and nothing else but the resistance against the dolors of weaning by myself, weaning that duration has been more than two years, maybe more than ten years, and a new medication in 1996 saved my life, helping me in this weaning, as I have soon said.
You have so some more elements to understand this music I have composed and recorded.
And the light will be done, as accidents does not exist.
I have made something like two promises during this week, the first is to give my whole support to the Democrat Party in the USA, with this link: link and to give support to the Yang Martial Arts Association (YMAA) where you can learn self-defence, in order to win more and more smiling moments, to be more and more peaceful, more and more quiet, without bad word jokes, having not to fight with punches, but fighting by goodness and honesty, that is the only one force, the strength of the Justs, the socialism, that is a democrat way of thinking, protecting the Fundamental Rights of Being and its Environment against who prefer suiciding or killing people that think possession and soul stealing should exist one day and are so madness as during the rwandaese genocid. If you want to secure yourself, knowing that it is honesty that permits to stay alive and to ameliorate life conditions, so go and visit the link site and its related sites link and link . If you do not really what means yin and yang, so go and see this site, and maybe practice at the less chi gongs and taïchi in the YMAA federation, as you should think about the real meaning of what you seem to have understood that is not so simple than the books should resume.
My article here is not a depressive message, it is a way for me to say yes, the History has been and it is not really a glory, but the universal situation is better and better, even if it is not a fairy appearence every day, that should not be an amelioration of life conditions.
Have a good day, friends, with music, arts, mathematical and philosophic way of thinking as it makes the world prettier as it is the base of happiness.

Hello and welcome to new subscribers.
I have just two little words to tell here.
Firstly, you can have noticed I have remixed one Suite pour violoncelle from J-S Bach I have recorded at the bass clarinet.
It is so possible to you to compare several mixes and remixes of the same title, with the two or three mixes I have done of this title I have recorded one time only. The sound in the last remixed I have done is bass boosted, and aigues cleared and egalized, and I have added some sound effects in order to better listen to the expression.
You can notice that in general, I have tried to have good basses in the recordings, but also sufficiently aigues to listen to the expression, and there are two things to know about aigues. I just have to tell you that, as for my recording of Capricen from Paganini, I have tried to make the suraigues triple forte, clear, precise, at the just diapason, but near to saturation, because I knew that it is not the sound that should be saturated, but people observing the sound that should want to modifiate the ear and the audio by crying in the same time as the audio that should be perceptible as saturation: the saturation is not in the sound, but when I affirm it clearly in the sound, and it cannot make kicks in the ears, it is only traditionalists who cry and make noise in the same time that are the type of pain in the ears. So the second fact relatively to my aigues and suraigues at the clarinet is that some dee-jays that are not jedies even if they want to look as star warriors, since the early fifties, have prepared our epoqua to have quasi only basses and metronoms in the ears, as to make surdity a banality, as the same traditionalists want the sexual violence and pedophily being a admitted culture, that it cannot become. So if some of you have problems to listen to suraigues sometimes, there are two questions you must wonder: is there around you someone connecting your ears on noise or radioelectricity with for example portable telephone, and are there in your early parents some people who wanted you to never listen to other sounds than bass bunkers? You can then sort your origins with a guideline to know who is really some people that want for you the best and others, just knowing what happens about aigues in my music or about bass sounds in general.
That is the first part of my message here, the musical part.
The second part is the economic part.
I want to inform you that if you have paied money to listen to my music, relatively to plates, CD plates or even vynil plates, or relatively to streaming, it is really about twenty years I have not received a cent, neither relatively to countries where laws are the Copyright, as for countries relaively to Author Rights, I have received just ten thousand euros in twenty years approximatively. I think at the day of today, there are about millions of euros that are not on my bank account since only five years, just counting avery minimum approximation of my Rights, financial rights, relatively to legal downloadings of my music, without including the illegal sites that sell my music since several years. My approximation is real, and the best proof is that on here N1M site, you have streamned more than two millions times some of my titles, title by title, at the minimum. So, when I tell here more than millions of euros is a very minimum approximation of the financial rights that have never been paied to me, I am realist. The real sum is maybe more thant hundreds of millions of euros, because my first plate what an audio cassette in 1992, and I suppose there are numerous pirated recordings of some of my concerts. This is for my personal situation. And this money is firstly... what you, one by one, dayt after day, year after year, have paied to recognize my works and my work.
And you must know I am not the only one to practice music and having a plate production, without considering the edition and my auto-edition production. It is more than a century when the duration is of this type of artistic situation.
Nowadays, there is the web/internet. My page here on N1M is at more than millions of listenings. And I can tell you this, because if I should choice to close this page, the site maybe should not continue to exist, as in order to listen to my music, you should have to go to another site. It is not the moment for this type of Artistic Action.
But the situation is over the limits. Where is your money, that you gave to these sites in order to the artists and musicians, and others in for example the cinema or art and try cinema should eat and live with artistic recognizing by the sums you have paied? The are not on my bank account, they are not on artists or musicians bank account, they are not on actors or actresses bank account but a hundred of them, they are not on writers bank account but a hundred of them?
I just want for the moment to inform you of this artistic world situation that has started maybe during the early nineteenth century, maybe before, but certainly since there are laboratories about recordings, electricity and informatics and robotics, and wave telecommunications, radio and electronic screen researches. Not a cent of you who have paied to me transiting to the sites or shops have been paied to me, and I am not the only one. During the twentieth century, it is probably more than thousands of billions of euros or dollars which have never been paied to artists and musicians. The official numbers of sellings and streamings is probably much more in reality.
The goal for me here is to proof as I know, that the producers and plate diffusors have not the power. It is the artists, the musicans included, that have the power on these factories of music production and diffusion or distribution. It is the same thing in each artistic category. If us, artists, should decide to boycott some sites of streaming diffusion of our music, much, if produced artists that are not as me independant workers should also decide to boycott production industry system with refusing to continue pressentation of their new plates, these societies should be as the British Petroleum, I mean loosing about more than eighty millions of dollars in about ten minutes, respectively and respecting the web internet cultural so salvation.
The proof is done. Now, and it is the second time in the musical and I should say the artistic world cultural historical heritage of the future generations who should birth even nowadays, because a black woman has tell this sentence one day in if I remember well the fifties, and I don't precise because culture is not a gadget: "Now, you pay the band." You, who listen to music in streaming during sometimes hours, who buy plates and mp3 of audio formats on the internet or in shops, you have pay someitmes hundreds of euros or dollars to have at home what is for you the most important thing for the soul, I mean culture, music, art, also paintings, and so on, and the artists have never been paied, have never been remunerated. So tell these capitalistic societies, intransigeantly, with the black colored woman, a great singer even some people should not recognize she has fight for democracy and peace we live actually and forever, this short sentence "Now, you pay the band", beacuse the question for me, not only for me, but for me firstly here, the question is: this money that is my remauneration, who should affirmate in front of me that it has not been use to make nuclear bombs or gas bottles that exploded in Syria or in Paris or elsewhere, who should certify me it has not been used to betonize Pompei areas by the handicapated kamora, who should certify me that it has not been used to violent children in South Asia in torture camps in bunkers or shops in the street, who should certify me it has not been used by factories of pesticids, and so on? Nobody. So it is important, even if you think these millions of euros or dollars that are legally my remuneration since more than twenty years, that these more than millions of euros or dollars have to be paied to me. And it is the same think for other artists or musicians, I should say even relatively to videoclips that are criticable you should see on TV, as I know some artists on MTV, even if you or me should consider they are not artists, have been stolen about millions of euros or dollars since just two or three years, and you as me cannot know if this money is not in Daesh pocket, or in Yakuzas pocket, in Bush pocket, in Hutus pocket, and you as me, don't want these terrorists should live with their wars and their desertification of the Earth, even another planet if one day you should go on another one. They live with drugs, proxenetism, pedophily, esclavagism, tortures, wars, revolutions, desertification, and they want more and more death ond blood, and it cannot be permitted. That is the reason of my present post. capitalists have not the power, here is the proof. If it should be necessary to make more in this artistic defence action, I should make the other artists an musicians, even in other artistic domains, break the whole musical industry capitalistic during sufficiently monthes to sort this financial situation. The music is not dead and never die, but it is not a submitted soul crying for help and tenderness or salvation, as music and arts are a strength, the strength of the reason, of the honesty, the strength of marrying the philosophy and the mathematics, the clarifying time of notions and concepts of the whole life, with the more and more beautiful forms for the ears, the heart, and the soul.

Hello and welcome to new subscribers! Yah.
There are effectively two important things I wanted to inform you.
Firstly, I have added yesterday the 21th of July, of course of 2019 but I prefer to precise it for the future, one sound which is a fugue I have composed with a subject that Cherybini has gived for the Price of the Musical Conservatory of Paris in France in 1827, in an example of a remix of the precedent versions with one of my own waves, I have calculated and traced in a software in order to produce an numeric audio with a numeric mixing software.
I have a few days ago calculated a waveform that is named an algorithm that is f(t)=1/(1-T) where T is the period of a periodic wave, where this period is equal to Resistance x Conducting = R x C in a type of oscillator and equal to squaredroot of Inductance x Conducting = sqrt(LC) in another type of oscillator, oscillators producing sinusoïd or squared waveforms.
Then, I have derivated this equation in other forms, and this audio is the result of my use which wave of equation is: f(t)=1/(1-T/2)).
I have other derivations of 1/1-T, as 1/(2.(m(n)-T)) and so on.
The important thing to know is that you can listen the audio by two listening types, as the wave is not really as circular as it should be, there is what is named "noise" in the waveform.
Firstly, you can tell you this noise is a notation of my computer of what is capted by the computer of noise around it, voices of neighbourgs or cars in the street, etc.
Secondly, you can tell you this noise is that of the electronic components of the computer, and what the computer has been capted of the speed of my fingers tracing the wave that are not antennae capting the sounds around me, but traducing my thinking while I was drawing the wave, that computer has not been able to understand instantanely because of the sampling speed.
The second important thing is that if you want to know what is happening historically in my life, you can read it on my blog on the mediapart site, as there is a link with genocid in Rwanda in 1994 I have discovered year after year, as I have some startings of proofs in order to accuse some people, even people in Dijon, and people who want to suicide me or to put me out of my flat, out of my home.
It is the real history, linked to ONGs history and UNESCO as you must know I am birthed in a ONG that was preside by my family, where I gave ideas to save people from african deforestation in the Sahel, as Sahel means "limit of the Sahara".
The TPIR has not answered to two of my emails, one via facebook, and another directly on the ONU site, and I know its doors are closed since 2017 if I remember well. But I asked them to reopen the trial. I am OK with you if you want to make sufficient pressure on the Mechanism of the TPIR in order to reopen with the new elements I gave, and that mostly are on my blog on mediapart.
So, this is also in my music, and will be in my newly compositions when I will have finished my computer making and my informatic wave mathematics, that I will never finish, as there is no limit to maths and philosophy, as to the Univers and its beauty and time.
See you later and wish you smiles around you.

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.