Here’s another offering from experiments concocted in my studio. I created this piece with no overdubbing. All tracks were recorded simultaneously. Post-production was limited to editing for length, fades, and one reverb send.
Last May I completed my MFA in New Media at the Minneapolis College of Art and Design. A good stretch of my time at the college was spent working on my master’s thesis. Here’s the abstract:
This paper explores the idea of mutable, audiovisual scores for improvised musical performances through the description of personal perspectives, practical examples, proposed projects, and research. The author postulates that an audiovisual score can be a useful tool to connect improvising musicians to each other and their audience through the insertion of a mediating audiovisual layer within the work. These systems are used as a primary influential agent for an ensemble of improvisers, providing them with a context for a musical conversation. In contrast to traditional notation and graphic scores, audiovisual scores embrace the chaotic ambiguities of environmental influences giving the music the context of unpredictable everyday events. Presenting an unpredictable audiovisual score parallels the indeterminate improvisation of the ensemble. It activates the last vestige of what remains immutable within traditional forms of notation driven performance inserting it into a mutable layer within the work.
Recently it occurred to me that many AudioCookbook readers will find the subject matter in my thesis interesting. There are detailed, conceptual explanations for many of the projects that I have shared here over the last few years. There are also references to work by many other artists who have provided inspiration to me. If you’re interested please click the link below to view or download the document.
Music with Context: Audiovisual Scores for Improvising Musicians by John Keston
I started this track on the plane during a recent trip to Seattle, Washington. Being away from my studio for a few days, I brought along my iPad and QuNexus to produce a few tracks while traveling. I decided to use Samplr as the foundation for this piece because I enjoy its simplicity and intuitive interface. It also offers a unique way to work in contrast to mobile DAWs that are usually analogues of their PC based counterparts.
I started out by experimenting with the kora samples included with one of the Samplr demos, arpeggiating and processing them in different ways. The rest of the sounds were produced with Propellerhead Figure and iSEM from Arturia that I played with the QuNexus. Once I had the tracks organized I performed the mix in Samplr while capturing the results in AudioShare.
On this fifth piece within the series the lead was played on the Volca Keys using a MIDI controller allowing for spanning several octaves and applying pitch bend and velocity. To get the intermittent pitch modulation I adjusted the LFO amount during play. Other instruments included the DSI Tempest and Novation Bass Station II.
I also followed these rules: 1) No overdubbing. All tracks were recorded at the same time. 2) No computer sequencing. All sequencing was on the instruments used. 3) No looping or shuffling parts in post. Editing for length and content was allowed. 4) One reverb send, one delay, and fades were allowed. No other processing. 5) No mix tricks in post. Reverse and rolls were performed live.
This is the forth piece in a series of rule based electronic compositions. I used the DSI Tempest, Korg Volca Keys, Novation Bass Station II, and Memory Man Delay. I also followed these rules: 1) No overdubbing. All tracks were recorded at the same time. 2) No computer sequencing. All sequencing was on the instruments used. 3) No looping or shuffling parts in post. Editing for length and content was allowed. 4) One reverb send, one delay, and fades were allowed. No other processing. 5) No mix tricks in post. Reverse and rolls were performed live.