Ostraka with Dial System Live

5tgr5tdryMy new duet, “Ostraka with Dial System” (John Keston and Graham O’Brien) is performing at the Kitty Cat Klub in Minneapolis on Sunday, August 9, 2009. This group combines the stochastic, angular melodies produced by the GMS with live drumming. Gestural video input is simultaneously projected onto a screen and processed into musical data. The results are captured in real-time and molded into spontaneous compositions. Special guests include DJ Zenrock and Terr the Om.

To get an idea of what you might hear, have a listen to these examples from a rehearsal recording that was made in May, 2009.
Ostraka with Dial System Jam #2

Ostraka with Dial System Jam #3

GMS Ensemble Live Performance

Nils Westdal shot this video of myself and Graham O’Brien on drums performing with the GMS during one of the Flashbelt after parties on June 8, 2009. The party was held in the back alley of One on One bike studio, considered the bike Mecca of the Midwest.

Recorded using the internal mic on the video camera, the mix is chatty and pretty drum heavy for the first half, but you can hear the GMS sequencing a little better toward the end.

The setup consists of a MacBook Pro running the GMS synced to Ableton Live 7, an M-Audio Firewire 410 interface, a Mackie 1202 mixer, my Korg MS2000 for external control of the GMS, a Casio projector, and a variety of bike lights and spinning LED tops as “light controllers”.

Click to view a 640 x 480 version in a new tab.

MAW Outing GMS Excerpt

mawaioutingHere’s a segment of audio from Wednesday’s MAW outing at Art Institutes Minnesota in downtown Minneapolis. I’m pretty happy with the arpeggiated, melodic loops I’m able to achieve with the right settings and a good light controller using this application. For video documentation of what was happening at the event, please visit minneapolisartonwheels.org.

This video shows me using various light controllers, including a string of patio lights, bike lights, and LED spinning tops to construct compositions using the GMS.

MAW Outing GMS Excerpt

GMS Performance in Downtown Minneapolis

gms_snapshotI’ve been scheduled to perform live using my GMS this Wednesday night, May 13, 2009. I’ll be projecting against the Western wall of Art Institutes International. The reactive music will be amplified along with the projection as it is produced in real-time. Here’s the publicity statement that went out about the event.

John Keston will be performing using his gestural music sequencer or GMS on Wednesday, May 13, 2009 in the parking lot next to Art Institutes International Minnesota, 15 South 9th Street, Minneapolis, Minnesota. The GMS was written in Processing.org by Ai instructor, Unearthed Music recording artist, and AudioCookbook.org founder John Keston. His tool analyzes video input and converts it into a sequence of musical information in real-time. The live video image will be projected on the building while the musical response to the images is amplified through a sound system. For more information about the GMS visit audiocookbook.org/tag/gms/. All Ai students, staff, alumni, and the public are welcome to attend this free performance. A drawing will be held (for WDIM students only) giving away two passes to this years Flashbelt conference.

Here’s a segment from a practice session today to give you an idea about what sort of output the GMS can produce. All of the percussion, melodic lines, and bass were generated by the sequencer, then live looped to produce the results.

GMS Practice Piece in C Sharp

Joel Ryan and Keir Neuringer

After Joel Ryan and Keir Neuringer’s appearance at the Ted Mann Concert Hall on February 21, 2009 for the Spark Festival, I had an opportunity talk with Keir during the night life event at the Bedlam Theatre. I told him all about Audio Cookbook and he agreed to posting a segment of his performance here.

The performance consisted of two improvisational pieces with Keir on saxophone and Joel Ryan processing the sound in real-time. The sheer breadth of textures and mood produced by the duet made it difficult to decide what to include in this entry.

The first piece was 23:55 minutes long, while the second was 10:15. Here’s a fifty-seven second segment from the first piece that illustrates some of Keir’s unorthodox techniques on the saxophone as well as Joel Ryan’s approach to real-time audio manipulation.

Joel Ryan and Keir Neuringer (Excerpt)