John CS Keston is an award winning transdisciplinary artist reimagining how music, video art, and computer science intersect. His work both questions and embraces his backgrounds in music technology, software development, and improvisation leading him toward unconventional compositions that convey a spirit of discovery and exploration through the use of graphic scores, chance and generative techniques, analog and digital synthesis, experimental sound design, signal processing, and acoustic piano. Performers are empowered to use their phonomnesis, or sonic imaginations, while contributing to his collaborative work. Originally from the United Kingdom, John currently resides in Minneapolis, Minnesota where he is a professor of Digital Media Arts at the University of St Thomas. He founded the sound design resource, AudioCookbook.org, where you will find articles and documentation about his projects and research.
John has spoken, performed, or exhibited original work at New Interfaces for Musical Expression (NIME 2022), the International Computer Music Conference (ICMC 2022), the International Digital Media Arts Conference (iDMAa 2022), International Sound in Science Technology and the Arts (ISSTA 2017-2019), Northern Spark (2011-2017), the Weisman Art Museum, the Montreal Jazz Festival, the Walker Art Center, the Minnesota Institute of Art, the Eyeo Festival, INST-INT, Echofluxx (Prague), and Moogfest. He produced and performed in the piece Instant Cinema: Teleportation Platform X, a featured project at Northern Spark 2013. He composed and performed the music for In Habit: Life in Patterns (2012) and Words to Dead Lips (2011) in collaboration with the dance company Aniccha Arts. In 2017 he was commissioned by the Walker Art Center to compose music for former Merce Cunningham dancers during the Common Time performance series. His music appears in The Jeffrey Dahmer Files (2012) and he composed the music for the short Familiar Pavement (2015). He has appeared on more than a dozen albums including two solo albums on UnearthedMusic.com.
This recording of the falls located on Shingle creek at Webber parkway was made last weekend on the way back from the Surly Darkness Day festival. My friend Kevin and I stopped during our bike ride back from the Surly brewery in Brooklyn Center where the event was held to drink a beer by the falls before crossing the Mississippi river at Camden on our way back to Northeast Minneapolis for dinner before riding to a campfire party in the Seward neighborhood.
This as yet untitled rough mix is made up of a few simple melodies recorded on my 1916 Raudenbush & Sons upright piano. Interspersed within the piece are a number of what I’m calling piano sound objects. I used a couple of different techniques to create these sounds.
To get some of the sound objects I tapped the strings with a variety of mallets. Another sound was created by rubbing a mallet along the string in a rhythmic pattern. I also created an interesting sound using a brush, intended for use on drums, to stroke the strings across the sound board.
The processing involved includes high quality reverberation, equalization, and compression, but I also took the liberty of applying pitch shifting a reverse in a few places. Although all of the sounds originate from the same acoustic piano, I would still call this an electronic piece because of the editing, treatments and processing used.
I came across this old late night session of sleepy Rhodes melodies and decided to render about fifty eight seconds of it. It was originally recorded on November 3, 2006 at about 12:53am. I love electronic timestamps.
There are two separate tracks of Rhodes, each running through separate processing. I added auto-panning to each track in opposite phase as a quick final touch before bouncing it down. The tracks are also running through equalization, amp modeling, two separate delays, and reverberation.
Each sound is uncompressed and available through freesound.org under the user keston in it’s original .wav format for free download and use in non-commercial works (I will most often grant permission for commercial use if you contact me in advance). If you make use of these samples please consider donating to AudioCookbook.org using the paypal link in the sidebar.
This spooky sound was created in Ableton Live using a variety of processing. The main device responsible is Pluggo’s Feedback Network. I ran a modulated synth pad into it, then removed all of the dry signal after automating several parameters. I re-sampled the results then pitched it all down two octaves being careful to filter out inaudible low frequencies. Finally, over the top I added a ping pong delay so the audio swirls around the stereo spectrum adding to the disturbing qualities of the sound.
This recording of the falls located on Shingle creek at Webber parkway was made last weekend on the way back from the Surly Darkness Day festival. My friend Kevin and I stopped during our bike ride back from the Surly brewery in Brooklyn Center where the event was held to drink a beer by the falls before crossing the Mississippi river at Camden on our way back to Northeast Minneapolis for dinner before riding to a campfire party in the Seward neighborhood. 
This as yet untitled rough mix is made up of a few simple melodies recorded on my 1916 Raudenbush & Sons upright piano. Interspersed within the piece are a number of what I’m calling piano sound objects. I used a couple of different techniques to create these sounds. 
I came across this old late night session of sleepy Rhodes melodies and decided to render about fifty eight seconds of it. It was originally recorded on November 3, 2006 at about 12:53am. I love electronic timestamps. 
This spooky sound was created in Ableton Live using a variety of processing. The main device responsible is Pluggo’s Feedback Network. I ran a modulated synth pad into it, then removed all of the dry signal after automating several parameters. I re-sampled the results then pitched it all down two octaves being careful to filter out inaudible low frequencies. Finally, over the top I added a ping pong delay so the audio swirls around the stereo spectrum adding to the disturbing qualities of the sound.