Duet No.3 for Synthesizer and The Singing Ringing Tree

This video is the third document from my five day recording session and performance series at the Singing Ringing Tree (SRT) in Burnley, UK. The SRT is a wind activated musical panopticon in Northern England. The sculpture was designed by architects Tonkin Liu and completed in December 2006. I performed accompaniment for the SRT binaural recordings simultaneously using a Novation Bass Station II connected to a USB battery. I also ran the Bass Station II through a Moog Minifooger Delay.

NOTE: This is a binaural recording combined with a monophonic synthesizer track. Although it sounds great through speakers, circumaural headphones must be used to experience the binaural effect.

Day Two Before Teardown Due to Persistent Rain

The second duet in the series was posted as audio while I was still on location. Duet No. 3 was recorded during my second day on the project. The birds were particularly loud adding another layer in the soundscape with which to interact. I was also feeling more in tune with the surroundings, but a persistent rain cut the day short.

Day Two Persistent Rain

One quick technical note: I used a subtle high-pass filter in post to reduce the wind noise while leaving in most of the lows. In production I tried various wind screens, but everything muffled the sound too much for the binaural effect to come through. The best solution turned out to be a thin cotton t-shirt that I used on one of the very windy days. Although, it still muffled the sound too much for my ears. Sheltering the mic opposite the wind helped the most. My goal was to replicate the sonic experience of the site as closely as possible, so letting the wind have some effect on the mic turned out to be the best way to achieve that.

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About John CS Keston

John CS Keston is an award winning transdisciplinary artist reimagining how music, video art, and computer science intersect. His work both questions and embraces his backgrounds in music technology, software development, and improvisation leading him toward unconventional compositions that convey a spirit of discovery and exploration through the use of graphic scores, chance and generative techniques, analog and digital synthesis, experimental sound design, signal processing, and acoustic piano. Performers are empowered to use their phonomnesis, or sonic imaginations, while contributing to his collaborative work. Originally from the United Kingdom, John currently resides in Minneapolis, Minnesota where he is a professor of Digital Media Arts at the University of St Thomas. He founded the sound design resource, AudioCookbook.org, where you will find articles and documentation about his projects and research. John has spoken, performed, or exhibited original work at New Interfaces for Musical Expression (NIME 2022), the International Computer Music Conference (ICMC 2022), the International Digital Media Arts Conference (iDMAa 2022), International Sound in Science Technology and the Arts (ISSTA 2017-2019), Northern Spark (2011-2017), the Weisman Art Museum, the Montreal Jazz Festival, the Walker Art Center, the Minnesota Institute of Art, the Eyeo Festival, INST-INT, Echofluxx (Prague), and Moogfest. He produced and performed in the piece Instant Cinema: Teleportation Platform X, a featured project at Northern Spark 2013. He composed and performed the music for In Habit: Life in Patterns (2012) and Words to Dead Lips (2011) in collaboration with the dance company Aniccha Arts. In 2017 he was commissioned by the Walker Art Center to compose music for former Merce Cunningham dancers during the Common Time performance series. His music appears in The Jeffrey Dahmer Files (2012) and he composed the music for the short Familiar Pavement (2015). He has appeared on more than a dozen albums including two solo albums on UnearthedMusic.com.

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