Г5—54 is a sound project rooted in analog electromechanic audio synthesis, named after a Soviet pulse generator, which is triggered by audio signals and acts as effector for percussive sounds at almost all our releases.
Г5—54 (G5-54, G554), the laboratory pulse generator, produces voltage pulses of switchable polarity with duration range from 0.1 to 1000 μs and is designed primarily for video equipment adjustments.
Under the terms of operation Г5—54 belongs to the group II of GOST 22261-76.
Basic pulse duration (t) bands:
0.1 μs — 0.3 μs; 0.3 μs — 1.0 μs; 1 μs — 3 μs; 3 μs — 10 μs; 10 μs — 30 μs; 30 μs— 100 μs; 100 μs — 300 μs; 300 — 1000 μs.
Primary adjustment range — with a duty cycle of 5.
Instability duration of the main pulse in one hour shall not exceed ± 3% of the set value.
Spurious modulation duration — less than 3 × 10 3 t + 0.003 microseconds.
The maximum amplitude of the main pulse Umax on external load of 500 ohms in parallel with 50 F n is not less than 50 V.

New materials do demand new approaches, but this does not erase the necessity of paying attention to shaping the narrative. On the contrary, distinctive sounds, each potential in its own perceived space, allow for a new narrative clarity. Just as in film, our more famous time-based cousin, music can have multiple narratives intertwining and adding complexity to the flow of ideas.

With crosscutting, flashback, and the like, one can create powerful illusions of nonlinearity, but in no case are we able to escape the reality that time only moves forward. When we acknowledge this fact, we face the necessity of structuring musical time with great care. If we do, it is more likely that the music will require and reward an intensified engagement by the listener. This allows us to invoke memory in subtle and powerful ways.

Eric Chasalow, Electroacoustic Music Is Not About Sound

Sound narrates, outlines and fills, but it is always ephemeral and doubtful. Between my heard and the sonic object/phenomenon I will never know its truth but can only invent it, producing a knowing for me. This knowing is the experience of sound as temporal relationship. This ‘relationship’ is not between things but is the thing, is sound itself. Listening cannot contemplate the object/phenomenon heard separate from its audition because the object does not precede listening.

Salomé Voegelin, Listening to Noise and Silence: Towards a Philosophy of Sound Art