Words to Dead Lips Closing Night Excerpt

Posted on November 8, 2010 by John Keston

As I’ve mentioned in some previous articles, I have been working on a multi-media dance collaboration, Words to Dead Lips, with Annichia Arts since last December that has finally come to a close. We staged three performances at Intermedia Arts in Minneapolis this weekend to a mostly full house. My part in the collaborative effort was to produce the music, and I was given an open mandate to do so. As is my preference, I opted to perform the work to the dance and projected imagery, rather than submit pre-recorded material. Although I adhered to an agreed framework for the soundscape, the improvisational nature of this approach made every performance unique.

The main tool that I used to generate the sound was my Max for Live patch, Grain Machine that explores granular synthesis via a multi-touch controller. I loaded it with five samples including Snow Melting into Lake Superior, One Hundred Sounds in Eight Seconds, High and Low Frequency Drone, and a couple of others for the piece.

Another component to the sonic environment was the noise shield. This device, that I built into saucer sleds, was used by the dancers to synthesize sounds using body contacts and a light dependent resistor. Here’s a five minute excerpt of audio from the closing night’s performance.

WTDL Closing Night Excerpt

Grain Machine Update and Layered Experiment

Posted on August 2, 2010 by John Keston

Here’s a new look at the Grain Machine M4L device. Since last time I have updated the device to allow drag and drop samples that are stored with the Live set, and added a visual for the filter that’s controlled by the accelerometer on the controller (iPad, iPhone, or iPod Touch).

The best thing about using this in Live is being able to live-loop and layer the output from Grain Machine into clips on different tracks, not to mention processing. Another advantage is saving the state of the device in the Live set so that one document has sample set X, while the next has sample set Y. Here’s a piece I created with the Grain Machine in Ableton Live using some samples I randomly selected from my sound library.

Grain Machine Layers

Grain Machine Max for Live Instrument

Posted on July 30, 2010 by John Keston

The Grain Machine v0.1

Something I have been meaning to do for a while was convert the MaxMSP instrument that I titled the Wavetable Glitch Machine (WTGM) into a Max for Live patch. The WTGM uses a TouchOSC interface running on an iPhone, iPod Touch, or iPad to explore samples using granular techniques as well as a virtual scrub dial with friction modeling. Visit the WTGM tag to read more and view a video of it in operation. I have renamed the instrument Grain Machine for the M4L version.

First I prepared the patch for transfer to M4L. This involved making sure that all of the interface objects were in the main patching window, reorganizing the sub-patchers, and cleaning up a variety of other things that I imagined might interfere with the process. Following that, all that was left was copying and pasting the patch into a Max Instrument, replacing some of the standard Max objects with M4L objects, and building a tidy little presentation mode.

Although I had to rework some of the logic and patch cords, the conversion went surprisingly fast. I expected to be working on this for weeks, but it only took me a matter of hours to get it into working order. There is still some fine tuning to be done, but all the necessary functionality is in place. Here’s an audio example I made with a simple breakbeat loaded into the Grain Machine.

Grain Machine Experiment

Sound Crawl 2010

Posted on April 19, 2010 by John Keston

This Friday, April 23, 2010 at around midnight I am very excited to be performing a rare solo set at McNally Smith under my Ostraka moniker.

I’ll be using a number of custom developed tools, including the GMS and my tentatively titled WTGM (Wave-Table Glitch Machine).

The event is called Sound Crawl and is being billed as “the official sound track for Art Crawl”.

Other artists include James Patrick and Timefog, Oliver Grudem, and Minneapolis Art on Wheels. More information and a complete schedule is available at:

http://blog.mcnallysmith.edu/soundcrawl/2010-schedule/

Five Movements for Five Sampled Sounds in Five Loud Speakers

Posted on December 14, 2009 by John Keston

fives

Last Tuesday I performed a sound art installation titled, Fives, at the University of Minnesota. The subtitle of the work is, Five Movements for Five Sampled Sounds in Five Loud Speakers. To produce the sound for the work I used the wavetable glitch machine that I have discussed in a number of recent entries, controlled over a wireless network with an iPod Touch running TouchOSC. The sound objects generated were amplified through five distinct loud speakers arranged on pedestals at about chest height in a pentagonal configuration.

I have more detailed documentation about the project on my portfolio site along with a few photographs taken during the performance, and a 15:37 audio study of the piece in stereo, simulating the five channels necessary to perform the work. Check it out at the link below.

Documentation for FIves on johnkeston.com

Music for People on Shelves

Posted on December 10, 2009 by John Keston

people_on_shelves I’ve just rendered my full eighty-six minute Ostraka set from last night’s event at the West Bank Social Center. So, while waiting for the delightful documentation that Andrea Streudel is sure to produce, here’s a short segment of audio from the set.

I used Ableton Live to produce in real-time and my wavetable glitch machine Max patch to make most of the noises, which I routed into Live using Soundflower.

The projection work of the evening was top notch. An entire wall of the building across from the WBSC was covered with animated silhouettes of attendees on simulated three dimensional “shelves”.

Here’s the excerpt. I’m also including a link to the entire eighty-six minute set that I uploaded to soundcloud.com for all the brave people who’d like to hear the full set.

Excerpt from Music for People on Shelves

Ableton Live Users Group

Posted on November 30, 2009 by John Keston

I will be presenting and performing at the Minneapolis Ableton Live Users Group on December 8, 2009, 7:00pm at the Nomad in Minneapolis, Minnesota. In my presentation I’ll be showing what I do with custom built applications and Ableton Live, including the GMS and my new Wavetable Glitch Machine. Currently I interface my custom built applications with Live, using MIDI via the IAC drivers in Mac OS X, and Soundflower for audio. Soon I’ll be converting my audio based Max patches over to Max for Live, so I can use them in Live directly.

Also appearing is Ali Momeni who’ll be showing some of his Max for Live patches, and JP Hungelmann who also organizes the event. Last time the group met it was held at IPR and there was an excellent turn out. The speakers were terrific and they gave away Ableton demo discs and t-shirts at the end of the event. If you use Live, have any interest in it, or electronic music in general, I highly recommend attending.

Multitouch Rotary Dial and X-Y Granular Exploration

Posted on November 6, 2009 by John Keston

With help from Josh Clos I have shot a short video documenting what my latest MaxMSP project does.

It’s a sort of swiss army knife of wavetable glitch machine and sample scrubbing tools. Hopefully the video will shed some light on what this project is about. I’ve been trying to describe it in a few other posts without much success, but seeing it in action seems to make a bit more sense.

The next step invovles integrating this tool into the Five Output Atemporal Looper i describe in my last entry.

For more information check out some of the related posts including Physically Modeling Multitouch Controls, Traversing Samples with Granular Synthesis, and TouchOSC Controlled Glitch Looper in MaxMSP.

Multitouch Rotary Dial and X-Y Granular Exploration from Unearthed Music on Vimeo.

Five Output Atemporal Looper

Posted on November 4, 2009 by John Keston

Here’s a screen grab of a patch I’m working on to successively loop five phrases of sound repetitively. For example, looping another phrase after the fifth time will replace the first and so on. The goal of this patch is to allow me to feed in audio signals from my multi-touch glitch machine into the looper so I can build compositions for a five speaker sound art installation I’m doing at the end of this semester at the University of Minnesota.

For the example I routed outputs 1, 3 and 5 to the left channel and outputs 2 and 4 to the right channel. I also temporarily generated a randomly pitched sinusoid to run into the looper for testing. The large toggle in the upper left initiates the looping and pressing it again stops it. Currently there’s no mechanism to find zero crossings, so the result has lots of clicking in the output. To make good use of the clicks (I’ll be fixing this later) I routed the output into Ableton Live, and loaded on heaping portions of distortion and delay. If life gives you clicks, make click-on-aid.

Clicky Five Ouput Atemporal Looper Example

Physically Modeling Multitouch Controls

Posted on October 19, 2009 by John Keston

For the last two weeks I have been working on a performance application that I’m developing in MaxMSP controlled with TouchOSC on the iPhone or iPod Touch. The application is coming along quite well. I have the granular traversal piece working how I want, as I described in Traversing Samples with Granular Synthesis.

Now I’m working on another feature of the application designed to allow the user to play samples with a rotary dial; not unlike manually spinning a record on a turntable. The basics of getting this going were pretty simple, but I also wanted to be able to spin the dial and have it continue to rotate based on the acceleration applied. Secondly, I wanted to have a slider that would adjust the amount of friction, from frictionless to instant braking.

This essentially involved physically modeling the control to behave like a turntable or other spinning device. After trying four or five techniques using standard Max objects I managed to get it working, but it wasn’t pretty. Instead I decided to try using a few lines of Javascript to do the calculations and adjust the position of the dial. This worked much better and only required about 35 lines of code. The best way to illustrate this application will be with video. I’ll shoot a few minutes to get the point across and share it here soon. For now here’s a recording made with the modeled controller I described and just a small amount of friction.

Percussion Loop Spinning