This round of Experimental Music Mondays features Stuart DeVaan from Savage Aural Hotbed, Davis-Glenn-Keston (Jon Davis, Tim Glenn, and John Keston), and Ostracon (John Keston and Graham O’Brien). Usually the last Monday of the month, this instance has been bumped up this Monday, July 19, 2010 where you will find us at the Kitty Cat Klub in Minneapolis, Minnesota. Expect to receive a brain-full of beautiful, grating, mysterious, haunting, mechanical, and organic sounds.
I’m working on a MaxMSP performance patch that uses a Wacom tablet to draw light onto dancers holding light sensitive instruments. Last night we decided to apply sound to the strokes to give the illustrator another way to interact in the piece. Currently the pressure from the pen is translated into the volume and the velocity is translated into pitch. It will need some fine tuning, but I think you can get the idea from the video.
On Wednesday, July 7, 2010 my piece Chromatic Textures was shown at 6X6 #5: Mystery, an exhibition at Ciné Lab in Athens, Georgia. My work was accepted along with five other artists, “…including Denton Crawford’s eyeballs, Aaron Oldenburg’s plunge into asphyxia, and a performance streamed live over the Internet from California.” Here’s my abstract for Chromatic Textures.
Chromatic Textures is a study on the synesthetic nature of our senses of sound and sight. Video input is used to produce generative musical phrases. The visual media is analyzed by the GMS (Gestural Music Sequencer) to create the musical forms in real-time. The software includes adjustable probability distribution maps for the scale and rhythm. Adjusting these settings allows familiar structures to emerge. The settings chosen for this piece cause notes within a particular scale to play more frequently, however, it is still possible for any note within the twelve-tone chromatic system to occur. As a result, dissonant or blue notes can be heard at rare instances throughout the piece. (more…)
I have converted a Max patch I build into a Max for Live device as an exercise for learning M4L. The original patch is a monophonic step sequencer that I wrote about in Step Sequencer Built in MaxMSP. I ran into some difficulties converting the patch along the way. Although it worked perfectly in Live, for some reason it was causing Live to crash after saving. It was also not storing the values in the Live number boxes, drop-downs, and sliders. The problem went away when I went through the tedious process of recreating the patch rather than copying and pasting my original work. This is a little worrisome since the next conversion will not be so simple (Multitouch Rotary Dial and X-Y Granular Exploration). Here’s an audio example with a little reverb to give you an idea of what it does.
Yesterday I had the distinct pleasure of introducing André Michelle at the Flashbelt conference in Minneapolis. André is the lead developer of Audiotool. If you’re not familiar with Audiotool it is, in my view, the best web based audio production application I have ever seen. The bulk of André’s presentation involved showing Flash built demos of advanced audio functionality, like granular synthesis, guitar modeling, and using physical modeling to influence sounds and sequences.
Toward the end of his presentation he brought Audiotool into the mix. Audiotool is an application built in Flash. The nearest thing I could compare it to is Reason. The biggest difference is that it runs on the web. This allows for social media opportunities that wouldn’t otherwise be possible. Instruments built into Audiotool, include very convincing emulation of several popular Roland devices, like the TR-808 and the TB-303. It also includes a modular synth called Pulverisatuer and a number of effect processors.
Finally, there is an audio track module that allows you to bring in samples stored within a pretty big library provided by Loopmasters. You can’t bring in your own samples yet, but André assured us it was in the works.
André played me a few examples of some of his favorite user generated tracks from Audiotool and I was very impressed with the sound quality and scope. It’s easy to dismiss a web based audio application as a novelty, but the community around it is creating some totally professional sounding stuff that can’t be ignored.
I really love this instrument. It’s simple to build and operate, yet the variety of sounds possible is broader than you would expect. This is the third Posc I’ve built. The first one I assembled into a small cardboard box. Let’s call it the Cardboard Posc. I disassembled the Cardboard Posc to build a prototype sound object for a dance piece.
For my third version I decided to build it into a transparent plastic case, formerly packaging for my iPod Touch. Let’s call it the Visible Posc. Right now it’s held together with a rubber band, but I’ll probably replace it with a screw or something to open it up for battery replacement. For more checkout these posts:
Part four of the Experimental Music Mondays series begins at 9:00pm on May 31, 2010 at the Kitty Cat Klub in Minneapolis with Heizerbaum & Panderton featuring Andrea Steudel from MinneapolisArtOnWheels.org, with sound artist Luke Heizerbaum (actually I don’t think that’s his real last name, but let’s go with it). Expect to see some fascinating projections including images from a microscope of a vinyl record as it spins on a turntable.
Next up is Ostracon (John Keston on electronics and Graham O’Brien on drums). We perform generative, improvisational compositions using the GMS (Gestural Music Sequencer), that converts video input into musical phrases. “Keston captures, layers, loops and processes melodic segments in real-time out of the stream of notes created by his gestural input, tailored with probability distribution algorithms. O’Brien accompanies these angular, electronic structures, with dynamic playing that, at times, verges on the chaotic. More about Ostracon can be found at audiocookbook.org and unearthedmusic.com.”
Closing the evening is Twenty Thirteen, “a trio, made up of Chris Robin Cox (Junkyard Empire, Minneapolis Free Music Society) playing electric trombone, Bryan Berry playing guitar through tons of effects and loops, and Kahlil Brewington laying down bad ass funky drums. The music is ambient, yet groovy as hell, and incorporates influences as diverse Portishead, Bitches Brew era Miles Davis, and classic hip-hop, drum n’ bass, and dub beats. It’s like nothing you have ever seen live. The band sometimes performs with a fourth member: a television, which sits facing away from the band, and channels can be changed by audience members; the band providing the soundtrack for a television they do not watch. It’s a bit of a social experiment.”
Seoul based artist and engineer, Hojun Song, is one of the featured artists on the Creators Project. Hojun engineers custom MIDI controllers, satellites, and “The Strongest Weapon in the World”; an unbreakable machine that prints out beautiful messages. The Creators Project is “…a global initiative bringing together the world’s leading and most relevant innovators in music, art, film, design and architecture through a common passion for creativity and technology.” Other featured artists include Diplo, Muti Randolph, Richie Hawtin, Karl Sadler, Phoenix, with dozens more on deck. Check it out at www.thecreatorsproject.com.
Lately, as you might have noticed, I’m attracted to synthesizers that don’t necessarily use keyboards for input. The Korg Monotron is a $60.00 battery operated true analog synthesizer with a ribbon controller and five knobs to control pitch, LFO rate / intensity, and VCF cutoff / peak. The Monotron will be available in the US this July. For more details checkout this article on Synthtopia.com.
Read on for more Korg Monotron videos. The next one is especially good.
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Part four of the Experimental Music Mondays series begins at 9:00pm on May 31, 2010 at the 