I composed this track and performed it live while limiting myself to using three electronic instruments: Novation Circuit, PreenFM2, and a Moog Sub 37. Afterward I added a recording of a Tibetan tingsha bell that I captured using a matched pair of Rode NT5 condensers. The instruments were sequenced using the Squarp Pyramid, which might technically be considered a fourth instrument, but it is not a sound source.
This Friday, April 21, 2017 will mark the 4th event we’ve affectionately titled, The Taming of the CPU. This time we have the privilege of being hosted by the Icehouse Minneapolis. Tickets are on sale now and available at the doors (opening at 10:30pm). The performers include myself, Mike Hodnick (Kindohm), Lucas Melchior (MKR), and Chris Leblanc with Michael Lund doing their famous modular-analog-video-liquid-light show. Expect to hear a broad range of electronic music from Kindohm’s virtuosic live coding to MKR’s Ableton prowess. I’ll be towing an all hardware rig including Rhodes electric piano, Moog Sub 37, a Pyramid Sequencer, and several other bits and pieces. Here’s the official spiel:
Taming of the CPU 4.0 brings together three award winning electronic musicians with two like minded visual artist to create a futuristic, immersive multi-media experience. Huge sounding hardware synthesis is combined with intricate live coding, and lush laptop arrangements while modular video synthesis and liquid light shows are displayed and synchronized to the music.
Read on for more information about the artists including bios and video examples: Continue reading →
The track starts out with a Rhodes loop that I played into the KP3+ with an LFO sweeping a resonant high pass filter. Next I start to bring in Euclidean patterns on each of the four Circuit drum parts. These are generated through individual tracks on the Pyramid. I have it setup with four Euclidean patterns per track bank for a total of sixteen. This way I can mix and match all sixteen patterns on the Pyramid and even swap them or combine them with patterns on the Circuit.
I also use Pyramid to sequence the bass and synth chords on the Circuit. In addition I have a track for the Sub 37 that I mute while soloing, and a track for the PreenFM2. The Sub 37 is in “local off” mode, so whichever track I have selected on Pyramid determines what instrument plays. I find the keybed and flexibility of the Sub 37 perfect as a controller and sound source. Thanks for listening and check out my new album Isosceles for more like it that’s actually mixed and mastered properly. ;-)
I will be performing an all hardware set using the DSI Tempest drum machine, the Elektron Analog 4, and the Moog Sub 37 this Thursday, October 22, 2015. Fellow music technology wizard, Robert Luna, will start off the evening drumming with his band Houseluna at 7:00pm followed by my set at 8:30pm. The event is being held at The Pourhouse at 10 S 5th St, Minneapolis, Minnesota.
I’ll be playing a similar set to my last solo event, The Taming of the CPU, but with enough variations to keep it interesting if you happened to catch that show. Listen to the track below to get a brief sample of what I’ll be performing. We hope to see you there!
On August 13 I had the pleasure of performing an original film score to picture at the Landmark Center in St. Paul for MNKINO Film Fest 2015. The event featured more than twenty short films with original scores. Most of the scores were performed to the films by a talented orchestra assembled for the event. I wrote and performed the music for the film Familiar Pavement by Aaron Marx.
Performing my four minutes of electronic to the film in real time was quite challenging. I did not use any time lock, relying on the original BPM and finding a good starting point to get the timing right. What made the timing critical (and a little tricky) was that I had processed the original film audio with filters and reverb so that it sat well within the arrangement. However, once I found a good marker in the film and practiced it several times I was well prepared.
The original score used the DSI Tempest for all the drums and the Elektron Analog Four for bass, pads, and an arpeggio. The melody line was sequenced on the Analog Four control voltage track and played on a Korg Monotribe (if you didn’t know that was possible read this). At the event I added the Moog Sub 37 to the setup so I could harmonize and embellish the melody lines.