Electroacoustic Piano Concert via Modular Synthesis

The last time I performed a series of electroacoustic piano pieces was November of 2016 (click the link for an audio example). However, I am always imagining interesting ways that the piano, one of the most ancient of all synthesizers ;-), can be processed, resampled, or re-synthesized. To that end I was recently offered an opportunity to play at Berlin, Not the city in Germany but the music venue in Minneapolis, on April 15, 2024.

In my previous performance I had used a Korg KP3+ and a Minifooger delay to simply sample and process the piano. While that simplicity allowed me to focus more on composing, this time I wanted to take a more flexible and unique approach to the electronics. Modular allows for this so I pillaged some modules from my main system and purchased a Happy Nerding FX AID XL to make an electroacoustic skiff designed for sampling, resampling, filtering, and processing incoming acoustic piano signals. From right to left the system includes Bela.io Gliss, Make Noise Morphagene, ALM Pamela’s Pro Workout, Make Noise Maths, Shakmat Dual Dagger, Electrosmith patch.init(), Happy Nerding FX AID XL, and Intellijel Outs. Continue reading

Places Above the Air Debut Release

Places Above the Air is a collaboration between myself and Jesse Whitney. Out today, the album features eight tracks of “a surreal blend of IDM, ambient techno, and Berlin School work, with the song titles encapsulating a passage from the Egyptian Book Of The Dead” (as translated by Normandi Ellis). Mastered by Will Killingsworth at Dead Air Studios. Pick it up on Bandcamp or give it a listen below.

Jesse also produced this video for the second track, yet I see with the eye of the sun as if it came to rest on my forehead.

Sat. Sept. 9 Dosh and Keston with Tripfacesmile.com

Martin Dosh and I have been playing one-off shows together in various ensembles for longer than I care to divulge. However, unless I’m misremembering this will be the first time as a duet. The Rhodes electric piano has always been our common ground, and I will have my new Osmose Expressive E along as well to share how I have been approaching that instrument. Tripfacesmile.com will start the night off with a set of modular synthesis. Please join us at ROK Bar, 882 7th St. W, Suite 12, St. Paul, MN 55102 on September 9, 2023.

Friday, Sept. 1 with Eric Carranza, Matty Harris, and Jesse Whitney

Join us for a night of music at ROK Bar, 882 7th St. W, Suite 12, St. Paul, MN 55102 on September 1, 2023. Jesse Whitney starts off the evening with a solo electronic set, followed by two trio sets from Eric Carranza (guitars and electronics), Matty Harris (saxophones), and me (keys included my Osmose Expressive E).

Osmose Expressive E and the Uncanny Valley

The internet has been buzzing with demos of the Osmose Expressive E since they started arriving to VIPs studios earlier this year. I have been fascinated by it since 3D renders of it showed up in November of 2019. Four years later, I finally have it and now that I’ve had a day or two to allow my brain to reassemble itself I’m ready to say something about it.

There are many directions that artists will steer this machine. One is by leveraging physical modeling to emulate acoustic instruments. Doing this requires developing the techniques and having the knowledge to work the Osmose into matching the range and textures of the target instrument. Secondly it requires expertly designed patches that can translate the subtleties of the player’s expression into the expected nuances. Benn Jordan has a great video here that goes into detail about how this can be done. I do not intend to address the debate regarding “should this be done?” in this article, other than to state that there is an ongoing debate (perhaps since music was electrically amplified) along with far reaching consequences to musicians and the music industry at large of which we all ought to be aware. Continue reading