Instant Composer: Mad-libbed Music

Instant Composer: Mad-Libbed Music

Northern Spark 2015 is June 13, 2015 and once again I am excited and honored to be taking part. This year I am directing and producing a project designed to directly involve audience participation in an all night long musical performance piece. Instant Composer: Mad-libbed Music (ICMLM) is in collaboration with a group of my interactive media students at Art Institutes Minnesota and an ensemble of improvising musicians from the Minneapolis and St. Paul, community.

ICMLM gives the audience a visceral connection to the ensemble because they will be choosing the members and composing the music! We have designed a mobile web application that allows the audience to write a piece of music that will be played by an ensemble within minutes of composing it. The compositions are textual or instructional scores popularized by Pauline Oliveros.

Pauline Oliveros is an American composer and accordionist who is a central figure in the development of experimental and post-war electronic art music … Oliveros has written books, formulated new music theories and investigated new ways to focus attention on music including her concepts of “Deep Listening” and “sonic awareness”. — Wikipedia

In five easy steps visitors will write their piece and submit it for its debut. The app allows participants to choose the instrumentation, tonality, dynamics, tempo, and length without needing to know any musical terms or techniques. The scores are like a Mad Lib, so we anticipate humor and transgressive play, but this will only make it more challenging and interesting for the ensembles.

The event is being held rain-or-shine on June 13, 2015 inside the historic Mill City Museum on the banks of the Mississippi river in downtown Minneapolis. It is free and open to the public and runs from dusk until dawn (9:00pm until 5:26am).

Participating students include: Ariel Marie Brooks, Michael Brooks, Renae Ferrario, Meg Gauthier, Abram Long, Valeria C. Sassi, Adam Schmid, and Steven Wietecha. The musicians include: Chris Cunningham (guitars), Jon Davis (bass, bass clarinet, saxophones), DeVon Russell Gray (bassoon, keyboards), Rajiah Johnson (flute), John Keston (keyboards), Donnie Martin (violin), Thomas Nordlund (guitars), Cody McKinney (bass), Graham O’Brien (drums), and Adam Schmid (drums).

Video: DKO Debut Album Absinthe Referent

SuBTR4CT1V3 is track five on the debut DKO album Absinthe Referent, now available for download or streaming at bandcamp or via the player embedded below:

Here’s how video artist Chris LeBlanc describes his work on this project:

I used VHS source material of sci fi movies from the 1990s that never made it to DVD running through Tachyons + processors, a homemade video feedback processor, and a modular video synthesizer mostly for colorization. I love scenes with virtual reality and the song brings out a pretty sinister feeling in some of this and lets you make up a story pieced together from 10 or so movies.

We are celebrating the release by performing at the Turf Club in St. Paul, Minnesota tomorrow night (Wednesday, May 20, 2015) with Dosh, A Love Electric, and Batteryboy sharing the bill. Please read on to check out some amazing stills from Chris’ video: Continue reading

Video: Bad News by Camp Dark

Here’s another video from the new Camp Dark album Nightmare in a Day. This video, created by Chris LeBlanc, is for the song Bad News.

New Camp Dark video by Chris LeBlanc.: Part bizarro media archivist and part analog glitch butcher, he takes the obscure movies that were left behind in the VHS era and uses their clips as source material for otherworldly visions. He uses old modified color processors and 90s video enhancers to bleed feedback loops and low rent special effects into unnerving video tape sequences where nightmares have tracking problems. Chris described his process a bit more here: “some effects in this video were achieved by taking apart a color processor and I detuned the hell out of it and made it a feedback loop. Then I chroma keyed in the feedback using a cheap video mixer so it looks super low rent and cool. There are a couple other analog processors in there for the neon colors too.”

For this track my pimary role was synth bass using my Roland Juno-106. I will be performing with Camp Dark (Graham O’Brien and Adam Svec), bassist Casey O’Brien, keyboardist Matt Leavitt, and guitarist Chris Salter at the Icehouse on May 15, 2015 to celebrate the release.

Zeitgeist Arts: The Taming of the CPU

The Taming of the CPU

I’m am very excited to announce an upcoming concert at Zeitgeist Arts this Friday, January 23, 2014 in Duluth, Minnesota. I’ll be performing a set of brand new material using the DSI Tempest, Elektron Analog Four, and Moog Sub 37. Live coding artist, Mike Hodnick (Kindohm), and Ableton guru, Lucas Melchior (MKR) are also on the bill. All three of us are recipients of the Minnesota Emerging Composers Award (MECA) for electronic music.

Photo by Chris LeBlanc

In addition to the music Chris LeBlanc will be performing live visuals at the event. I’ve had the privilege of working with Chris on several occasions and I’m really looking forward to experiencing his latest concoction of analog video, circuit bent NES, and vintage video mixers. At this event he’s bringing four gorgeous CRT monitors from a vintage 9 x 9 video wall. You can see a still of them in action above.

Facebook Event Page
Zeitgeist Arts Event Page

Real Orchestra vs Synth Mockup – Part 4/6

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This is the fourth part in a small series of blog posts I’ll make about the real-world differences between orchestral mockups (or synth orchestras) versus real orchestras. As a composer who is fortunate to work regularly with live orchestras, I’ll try to help show the difference from a decent demo recording, to a mixed and mastered finished recording. For this example, I’ve chosen an exciting track from my album “Resonance Theory” called “Speed”. The sixteen-strong cello & bass section hated me after this, and you’ll see why!


 
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