Audiovisual Grain Machine Demo

Here’s a quick demo of the software I am designing to do audiovisual granular synthesis that I’ll be presenting at Moogfest and performing with at Echofluxx. It allows a performer to apply granular synthesis to sound and corresponding video using a touch interface such as MIRA (shown). The audio and video are synchronized in parallel. The software also has the capability to capture and repeat gestures so that the performer can accompany the projections with multiple layers and arrange compositions in a performance setting. This demo granulates the voice and image of Lister Rossel. In addition I use analogue synthesizers to contrast the digital manipulations.

This work alludes to the speech-to-song illusion discovered by Diana Deutsch. It also evokes an “event fusion” as vocalizations are repeated much faster than humanly possible until they enter the audio range. Adding the corresponding visuals makes it appear uncanny as video and sound are looped in millisecond intervals.

Coleoptera

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In this no-overdubs-performed-live track a paraphonic chord pattern from the Korg Volca Keys is prominently featured. I used several other favorites in the piece including the Roland D-50, Roland Juno-106 arpeggiated by Ableton, Novation Bass Station II, and the DSI Tempest. There’s also signature delay feedback swells from the Memory Man.

March of the Robot Field Mice

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Here’s another “straight-to-tape-no-overdubs” track. This time I gave myself the liberty of pre-recording a few MIDI loops in the DAW with the mutes routed to a MIDI controller. I used eight of my favorite instruments including the Rhodes, Roland D-50, Roland Juno-106, Roland MKS-80, Korg Volca Keys, Novation Bass Station II, and SCI Pro-One.

Incidentally, the title of this track was inspired by a comment on Japan, California, UK that reads: “If, within 6 months, this isn’t the soundtrack to an inspirational, animated montage where cartoon field mice build an aeroplane from junk and fly above their home waving down to their friends, then there’s no justice.”

Japan, California, UK

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Here is another no-overdubbing, straight-to-tape, composition using four of my favorite synths. The Yamaha FS1R provided the brittle, sustained, chord pattern. The Tempest handled the synth bass. The Bass Station II produced the arpeggio. Finally, I used the mighty MKS-80 for the lead playing. BTW: I took the photo in Seattle.

Synth Wall Mix #4

Here’s another offering from experiments concocted in my studio. I created this piece with no overdubbing. All tracks were recorded simultaneously. Post-production was limited to editing for length, fades, and one reverb send.

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