The GMS (Gestural Music Sequencer), written in Processing.org by Unearthed Music recording artist and AudioCookbook.org founder John Keston, analyzes video input and converts it into a sequence of musical information in real-time. Each frame is processed to find the brightest pixel. The x coordinate is converted into pitch while the y coordinate is translated into dynamics. The application was also designed to use probability distributions on pitch and durations.
This excerpt is from my first live performance featuring the DSI Tempest last Thursday, September 6, 2012 at the Walker Art Center for the NAMAC opening night reception. My setup consisted of the Tempest synched up with a Korg Monotribe. The notes and some of the drums patterns were created in real-time with the GMS creating those signature, angular lines. I also played percussion patterns into the Tempest sequencer during the performance. The entire 75 minute set was improvised. LEDs fed into the video camera were projected on the wall behind me and used to generated the melodic and some of the rhythmic content.
Here’s track eleven from the Ostracon live recordings that I have been sharing. Starting with track ten the roughs are from the last of three performances. These last five (track ten through fourteen) I took a slightly different approach by completely eliminating the use of virtual instruments. At this stage I was enamored with the Roland MKS-80, so I used it exclusively during this last performance. The MKS-80 has sixteen VCOs, but it’s multitimbral capabilities are limited to a dual mode and a split mode. Therefore, to get multiple layers of textures I simply recorded live loops of audio triggered by the GMS and stacked them accordingly. There are three tracks left in this series, so if you’d like to hear the compete sequence, please drop a line, share, like, or pat me on the back. Thanks for listening!
Track six is also from the Ostracon performance at the 2011 Eyeo Festival. If you’d like to hear more from this collection please comment, share, retweet, like, or insert method through which you are comfortable and adept at spreading the word. Thanks!
The fifth track in this series marks a move from our cassette release show to five days later during our performance at the 2011 Eyeo Festival. If you’d like to hear more from this collection please comment, share, retweet, like, or insert method through which you are comfortable and adept at spreading the word. Thanks!
This dense section from a live Ostracon recording contains several live looped layers of synth along with the drums. Thanks to multitrack live recordings made by Isaac Halvorson I have about fifteen pieces from three shows that I’m currently mixing with the idea of releasing a live album. Some of them won’t make the cut, but I’m hearing potential in many of the tracks so far.