Conversion of Graffiti into Sound

Posted on December 22, 2008 by John C.S. Keston

Recently I was invited by Michel Rouzic to try his software, Photosounder, designed for converting images into sound. Image to sound conversion is something I’ve been meaning to explore, so today I finally had some time to have a look. The software does much more than create strange sound from images. It’s a great time stretching tool, and it also reads in wave files as images allowing you to use the same sort of manipulation you can do on image based files.

This sound was created from the full resolution version of the graffiti photo shown. I settled on this image because of it’s simplicity, and the diagonal strokes of the tag produced a nice cascade of descending pitches. The way the flash lights up the center of the photo gave the sound a dynamic swell that I emphasized by adjusting the gamma parameter. Photosounder allows you to set the time and frequency range of the audio produced, so for this example I put the bottom at 52Hz and the top at 12kHz.

Graffiti Photo to Sound

Some Kind of Adhesive Excerpt from Live Mix

Posted on December 21, 2008 by John C.S. Keston

Here’s another segment from the live recording I wrote about in the last entry. This is an excerpt from the piece Some Kind of Adhesive from One Day to Save All Life (2008, Unearthed Music). If you are familiar with the piece you will probably notice that this excerpt bares little resemblance to the original recording.

This is an example of how far a piece can stray from it’s original structure. The tempo hasn’t changed and some of the same instrument recordings are used, but these elements have been shaped into something new by cutting, stretching, looping, processing, and other forms of manipulation in real-time during the performance. This makes every set different from the next and keeps things interesting for us and (hopefully) our listeners.

Some Kind of Adhesive Live Mix (Excerpt)

Segment of Improvisation from Set Recording

Posted on December 20, 2008 by John C.S. Keston

This is one of several little magic moments from a recent performance with Nils Westdal. You can hear the Memory Man feedback come in at about twenty five seconds. Since we were limited to using laptops for this performance I was able to include the Memory Man as an external device as described in More Memory Man Madness. One of the good things about laptop sets are that you’re able to focus on improvising arrangements of the material, and freely experiment with processing.

Segment of Improvisation from Photo Exhibit

More Memory Man Madness

Posted on December 17, 2008 by John C.S. Keston

Finding a new way to use my Electro-Harmonix Deluxe Memory Man delay led me to create this sound. By using the device as an external effect on a send track in Ableton Live I’m able to apply the processor to any track in my set.

Normally when I perform I’m juggling the use of multiple keyboards, pedals, software, VSTs and a mixer. Too much activity already to add an external processor into the fray. But for some shows in small venues, dance clubs, or galleries live instruments complicate matters, so my group Keston and Westdal have a laptop set that we do on rare occasions.

Two producers in front of laptops isn’t my idea of an exciting live show, so it’s not our typical modus operandi. Therefore, for a private gallery show that we are playing tomorrow night, I’ve decided to add my Memory Man as a distraction from the trackpad and computer keyboard. This way I can create more sounds like this in the set. I’ll let you know how it goes.

Memory Man Beat

Memory Man Saturation

Posted on December 16, 2008 by John C.S. Keston

One of my favorite external processors is my Electro-Harmonix Deluxe Memory Man delay. It’s mono, only has five hundred fifty milliseconds of decay, but it is one hundred percent analog gratification. My Sequential Circuits running through the Memory Man used to be a consistent part of my live keyboard setup.

I created this sound by setting up the delay as an external effect in Ableton Live then capturing the output in a separate track while adjusting the knobs. This short section was from the end of the recording after the guitar track I was running through it ran out. I had the feedback up pretty high as I manipulated the decay to get this result.

Memory Man Saturation