About John CS Keston

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.

Tearing Grains

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.

Tearing Grains

North Shore Rocks

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.

North Shore Rocks

 

 

Three Story Buildings

How much processing can a voice recording take? I guess it depends on how badly you want to fuck it up. When it’s a recording of Donald Rumsfeld justifying the war on Iraq, I want to fuck it up as much as possible. That said, the recording is pitched and time expanded, run through a noise gate followed by a compressor, automated erosion, stereo delay (feedback at 80%, left at 5ms, right at 12.5ms, mix at 50%), and finally a reverb that creeps in with automated mix and decay. Enjoy!

Rumsfeld

 

“Get the Edge”

A while ago I was sampling audio from a late night Tony Robbins infomercial. Today’s sound is the announcer during that broadcast saying, “Get the Edge”. All I’ve done to it is some time expansion and a bit of pitch shifting to give it a robotic sound. Nothing new, but fun nevertheless.

Get the Edge

 

 

 

Distorted Percussion

In this category I am planning to post a new sound everyday. I may not have created the sound the very same day of the post, but it will be something recent at the very least and more than likely created on the day I submit it. The idea is something like my colleague Tim Armato’s p{365} blog where he is posting a Processing sketch every day for a year.

My goal is to learn more about some of the audio processing that is available to me. It’s not always convenient when working on a project to explore new plugins or new ways to use old ones, especially in the studio or while collaborating. With this exercise I can do that and archive the results here. I’ll briefly describe the process of creating each sound and something about the software and hardware involved.

Today’s sound is a loop of audio that has been heavily processed in Ableton Live with filter taps (Pluggo), distortion, eq, dub delay (MDA), reverb, and more. The loop is an excerpt from a remix of “Some Kind of Adhesive” (One Day to Save All Life) that I produced with Nils Westdal. Believe it or not it started out as a simple shaker pattern. To me it sounds similar to the over driven thumb pianos of Konono N°1, although this was an accident since I was basically tuning the pitches to work in the remix. After I added distortion and a little virtual knob turning on the dub delay, this is what I got.

Distorted Percussion