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.
Technically this post and the last have been more than one sound, so perhaps I should rename the category “one sound or more every day”. Anyway, I just made a rough mix of this musical sketch (not quite a complete piece yet) and thought it could serve as today’s sound.
The image is a partial screen grab of one of the virtual instruments I used. The chordal and melodic tones and the bass are all played and programmed by me, but the rest of it is sampled from an unnamed jazz recording, so although the samples are heavily manipulated this composition is unlikely to go much further than this.
Every so often I think it might be a good idea to record using acoustic instruments I have lying around my studio. This time I started with a little loop of syncopated piano. On top of that I added a very simple melody with a kalimba, or thumb piano. There’s no processing other than normalization to -3db to give the levels a little boost.
I have dozens of these tiny pieces, and once in a great while they actually get finished as tracks, but the vast majority of them, like this example, sit in dusty folders on backup hard drives. Most of the time that is exactly where they belong, but I do review them occasionally to get ideas or see if there’s anything worth producing.
This drum loop has been processed by reducing the bit depth and down-sampling the clip until very little of it is reminiscent of it’s original state. As you can see in the image, the waveform has been reduced to a wide pulse that sounds very distorted (you might want to start at low volume). The top of the image represents a short section of the original audio, while the bottom is the processed version.
The bit depth was reduced to two, which allows for four possible positions for the amplitude of the waveform. Two above zero and two below zero. There are no zero crossings that aren’t straight lines, therefore the output sounds very similar to audio that has been badly clipped, but in my ears this sort of distortion has more charm than just clipping the waveform. The only other processing involved is automated pitch shifting from down four octaves up to its original pitch by about seven seconds into the audio. Here is where it sounds closest to it original form. Its stays there until about nine seconds in and then shifts back down minus forty eight semi-tones until it ends after almost twenty seconds.
Using the simple granular synth packaged with Pluggo I created this nasty tearing sound. Towards the middle it sounds like it’s causing speaker damage, but don’t worry your speakers are safe. The original waveform was a sawtooth before the grain table algorithms manipulated it as you can see in the image.
Granular synthesis involves separating a waveform into grains that can be rearranged either randomly or with various formulas resulting in dense or scattered clouds of sound particles. For more information about granular synthesis, check out this entry on Wikipedia.
Literally… Captured bouncing and rolling down the dense, Precambrian volcanic rock on the North Shore of Lake Superior in Minnesota last Summer. I recorded this sound with an AKG c4000b large diaphragm condenser microphone. No processing included. Just linear fades in and out.
Technically this post and the last have been more than one sound, so perhaps I should rename the category “one sound or more every day”. Anyway, I just made a rough mix of this musical sketch (not quite a complete piece yet) and thought it could serve as today’s sound. 
Every so often I think it might be a good idea to record using acoustic instruments I have lying around my studio. This time I started with a little loop of syncopated piano. On top of that I added a very simple melody with a kalimba, or thumb piano. There’s no processing other than normalization to -3db to give the levels a little boost.
This drum loop has been processed by reducing the bit depth and down-sampling the clip until very little of it is reminiscent of it’s original state. As you can see in the image, the waveform has been reduced to a wide pulse that sounds very distorted (you might want to start at low volume). The top of the image represents a short section of the original audio, while the bottom is the processed version. 
Using the simple granular synth packaged with 
Literally… Captured bouncing and rolling down the dense, Precambrian volcanic rock on the North Shore of Lake Superior in Minnesota last Summer. I recorded this sound with an AKG c4000b large diaphragm condenser microphone. No processing included. Just linear fades in and out.