Sample Glitching on the Dirtywave M8

The Dirtywave M8 has been consistently sneaking its way into my music workflow these days. One of the things I really enjoy doing with it is sample glitching. There are so many generative techniques possible when it comes to the tracker and how it is integrated with the sampling instrument. Things like chance, playback rate, direction, start position, randomization and anything else that makes the sample instrument get weird are really interesting and effective approaches to sample manipulation.

In this clip I have several rows of chains which include instruments, each with different samples and ways that the samples are being juggled and twisted. This involves chance and randomness applied to everything from delaying the note to reversing the playback direction. All the samples are sounds that I either recorded or made using synthesis or other sound design techniques. The range of possible textures is remarkable even without a wide range of samples to work with.

SYNTAX at the Performing Media Festival 2023

Keston and Honick performing SYNTAX at iDMAa 2022 Weird Media

I’m pleased to share that I will be giving a concert of the piece SYNTAX in collaboration with Mike Hodnick AKA Kindohm at the Performing Media Festival on March 10 at LangLab in South Bend, Indiana. This video excerpt of the piece was presented at NIME 2022, and we performed the piece in-person at ICMC 2022 in Limerick last July, and at iDMAa 2022 Weird Media last June.

SYNTAX is an exercise in programming computers to program ourselves. Mike and I each composed four movements for a total of eight generative, animated, graphic scores. We follow the unpredictable yet familiar visuals making each performance similar, but distinct from the next.

The piece questions technological idealism in an age of ecological disruption and data-driven exploitation. By deliberately coding and submitting to an “inversion of control” we’re evoke the warnings of media theorists like Douglas Rushkoff, that we risk a future wherein our behavior might be irreversibly dictated by the algorithms in the software we use instead of by our own volition. If you can’t catch our performance in South Bend, we’ll be performing it again in Kalamazoo, MI the next day at the Dormouse Theatre.

ACB Live Volume 1 & 2 Videos

AudioCookbook Live is underway over on Twitch.TV with the next episode to feature musician Eric Julio Carranza on February 21, 2023. In the meantime enjoy these captured version of the first two sessions from the series:

ACB Live Volume 2 featured Chris LeBlanc on visuals, John C.S. Keston on synthesizers, and Charles Hainworth on cameras and streaming.

ACB Live Volume 1 featured a solo performance John C.S. Keston on synthesizers, with Chris LeBlanc on cameras and streaming.

Read on for a few screen grabs from volume 2: Continue reading

ACB Live, Volume 2: Video Artist Chris LeBlanc

AudioCookbook Live, Volume 2 is happening tonight, Tuesday, January 17, 2023 at 7:30 and will feature video artist Chris LeBlanc. This fundraiser for The Link is a free streaming concert with optional donations. I will be improvising music based on LeBlanc’s improvised visuals creating a vicious cycle of mind melding, psychological, feedback loops. A special thanks goes out to Charles Hainsworth for donating his time and expertise in videography and streaming. Check it out on Twitch.TV/AudioCookbook at 7:30pm.

AudioCookbook Live: November 15, 2022

The COVID-19 pandemic introduced many of us to the comforts of streaming concerts at home, while some of us had already been experiencing concerts this way. As a performer I was thrilled to participate in a handful of streaming events while the pandemic had shuttered venues and driven us indoors. Although by no means over, the recent decline in cases has allowed many music venues to reopen, while others have had to close permanently. I have had the good fortune of performing live several times since cases have begun to decline and I hope that trend continues (both cases declining and performance inclines). However, not since I started performing in my late teens have I played so infrequently, which feels wrong somehow, and makes it more time consuming to prepare for performances when they do arise.

Yet I have resisted organizing and performing my own streaming events. I have several unjustified rationalizations for this; fear of low attendance, fear of technical issues impacting the quality, and a reluctance to get started and learn everything necessary to broadcast. So I have put a date on the calendar to stream a solo concert on Tuesday, November 15, 2022 at 7:30pm. There is a long list of pros and cons for live streaming. The biggest con being no in-person contact with the audience and community. But it is not my intent to replace in-person live shows. My hope is at minimum to increase my opportunities for performing, expand my studio practice, and entertain some people. The streams will be free and open to the public.

Projects on this blog, like One Sound Everyday, One Synthesizer Sound Every Day, and Sound / Simulacra have motivated me to keep making music. I see streaming performances as a vehicle for keeping up with my performance routine. Perhaps it will evolve into a monthly event with guests. I expect brief discussions after each performance, answering questions from the stream chat, sharing my setups, and covering topics within music technology, sound design, electronic music, and improvisation. Stay informed about these events by subscribing to AudioCookbook, or by following AudiocookbookBook on Twitch.TV. The events will always be free with donation to The Link encouraged. The For in-person events (mostly in Minneapolis) I have a separate email list you can join by emailing me directly at keston [ at ] audiocookbook [ dot ] org.