Experimental Sound Set for the Prophet Rev2

Posted on January 23, 2019 by John C.S. Keston

Although I haven’t mentioned it here, I have had a 16 voice Sequential Prophet Rev2 since November 23, 2018. In the last two months I have programmed a full bank of 128 patches for the instrument. This isn’t something I would normally do for any instrument. For most instruments I program a handful of patches that I need, or simply create or modify the patches as I work in the studio.

So why spend two months creating 128 patches? One reason why is because the scope of timbral possibilities is vast. One can create glistening, glassy, and bright tones or contrasting warm and dark sounds just as easily as one another. Secondly the process of creating patches is fun with minimal menu diving. Thirdly, if the patches are received well I’ll offer them for sale as a downloadable set.

Lastly, I have designed a Max for Live device (see image above) that morphs, interpolates, and/or randomized specified parameters on the synth. This software, titled Rev2 Patch Degrader, is similar to the what I created for the PreenFM2 and for the Yamaha TX81Z. It has allowed me to discover and tweak dozens of experimental soundscapes with many more to come. Developing the software took over a month, but I was able to get some excellent features packed into it. For example, there are four ways to initialize new patches: init 0s, init pad, init perc, and init random. The degrading process will then change parameters over time (clocked or in milliseconds) to new values.

In the next few weeks I’ll share some more examples of patches I have made on the Rev2. In the meantime, please let me know if you’re interested in what I’m tentatively calling the AudioCookbook Experimental Sound Set. Also, let me know if you’re interested in the Rev2 Patch Degrader for Max for Live. Thanks!

Sound / Simulacra: Davu Seru Recordings

Posted on January 9, 2019 by John C.S. Keston

On Wednesday, July 25th, 2018 Sound / Simulacra featured drummer and composer Davu Seru at Jazz Central Studios. Davu started off the evening with three improved solo pieces. We followed that up with four pieces as a trio with myself and Cody McKinney joining in.

Sound / Simulacra: Bloodline Recordings

Posted on January 8, 2019 by John C.S. Keston

On Wednesday, November 22nd, 2017 Sound / Simulacra featured Bloodline at Jazz Central Studios. Bloodline is Peter Hennig (percussion), John C.S. Keston (Rhodes, synthesizers), and Cody McKinney (bass, vocals, electronics). During this concert, captured by Dave Kunath, we performed three pieces as a trio as well as solo pieces from each member of the group.

Sound / Simulacra: John C.S. Keston & Graham O’Brien Recordings

Posted on January 7, 2019 by John C.S. Keston

On Wednesday February 22nd, 2017 Sound / Simulacra featured Graham O’Brien at Jazz Central Studios. This was only the second event in the series and somehow these recordings captured by Dave Kunath slipped through the cracks. Fortunately I came across them recently so I can share them now. This concert was shortly before Graham and I performed for Merce Cunningham: Common Time at the Walker Art Center. During this period we were trying a lot of things with aleatoric techniques. This included graphic scores with chance elements, randomized digital sounds that Graham triggered from his acoustic drums, and randomized sound design I was triggering from the PreenFM2.

Video: Parking Ramp Project

Posted on December 27, 2018 by John C.S. Keston

Aniccha Arts premieres a performance installation inside a seven-level parking garage. The project asks questions about transience, migration, and stability in a space that temporarily stores cars and is home to nothing. Performers pervade the parking structure with their bodies, working against the visible slant of the ramp to find their individual verticality. Questions we asked in creating the work: How do we find softness in a landscape of concrete? What anchors us on these alternating planes? How do we connect across such a complex landscape? video by: Cully Gallagher

This video by Cully Gallagher is 3 minutes and 30 seconds of fragments from the approximately 44 minute long Parking Ramp Project. Composing music for this performance installation showed me how far it is still possible to explore improvised music through experimental processes. Considering the acoustics of the parking ramp was a critical consideration within the musical scope. One approach to this was rests coded into the algorithms that allowed for the music to decay during long pauses while the ambient sound of the space inserted itself as an unintentional “performer”.

I am humbled by the willingness of the Pramila Vasudevan and other collaborators to humor my absurd scheme to compose the work using Javascript. This language allowed me to quickly produce animated, generative, graphic scores. It was also a privilege to perform the music with Peter Hennig (drums) and Cody McKinney (bass/electronics) who effortlessly interpreted the graphic scores. You can read and hear more about the project or continue for a gallery of screen grabs from the animated graphic scores. Continue reading →