PANIC BY PROXY is an audiovisual composition produced in collaboration with Syrian architect and multidisciplinary artist Khaled Alwarea. The piece is a long distance response and “musical” reimagining of Alwarea’s film Panic Attack. I will be making the debut performance of the piece at the Walker Art Center this Thursday, August 23, 2018.
The performance will feature audiovisual objects provided by Alwarea projected and amplified while being granulated in real-time along with electronic accompaniment. The dissonance, distortion, and uncanny synchronization illicit feelings of disturbance and confusion as an expression of the artist’s anxiety.
This video is a 0:45 clip from the 30 minute piece that demonstrates the audiovisual granular synthesis technique used to process the video in real-time. Ginormous thank-you’s go to Esmaa Imady for inviting me to participate in the event, Khaled Alwarea for his amazing film work, and Emily Gastineau at MN Artists for organizing the event.
Read more about Esmaa Imady and the other artists participating in this event on Hyperallergic.
I performed this version of Vocalise Sintetica at on Friday, June 8, 2018 at Studio Z for the Nada showcase. The recording was captured by Mike Hodnick. In addition to the improvised elements, what makes this different from previous versions of the piece is that Studio Z is close to home, so I was able to bring my favorite instrument, the Moog Sub 37 for lead lines, melodies, drones, and arps. All the sound heard in this piece was generated by the AVGM (Audiovisual Grain Machine) controlled by an iPad, a Novation Circuit with custom samples and patches, a Minifooger Delay, and the Moog Sub 37.
This was an amazing evening of performances. The sets from Michael Flora, Mike Hodnick (Kindohm), and Spednar were all excellent. Mike also shared video of his own set of “tightly coupled audio and visuals” that he premiered at the event, which is definitely worth checking out:
Attending ISSTA last month was a fantastic experience. The conference brought together an intimate group of like-minded composers, sound designers, and developers all dedicated to uncovering and exploring new sonic territories. I immensely enjoyed all that ISSTA had on offer, especially the concerts. One of the performers this year was Jenn Kirby who composes and performs electroacoustic works that apply processing through the use of unconventional, gestural, controllers like the Gametrak golf swing tether controller. In Phonetics she uses the Gametrak to control the signal processing of her vocalizations.
The Korg KAOSS PAD KP3+ is a powerful beast. It’s great for realtime processing and sampling, but it’s not the best choice as a loop pedal. For one, the loop record length choices only include 1, 2, 4, 8, and 16 beats. You can adjust that after recording, but not on the way in. One shot samples can be any length, but they need to be triggered manually or via a sequencer. Furthermore, it’s not a pedal. If you want to trigger or record samples with your feet you’ll need a MIDI foot controller to do that. And not just any controller. It will need to be programmable so that you can send specific note values to the KP3+ that trigger each of the sample buttons.
This is the issue I decided to resolve for my continuously evolving live setup. More often than not I use a Rhodes electric piano with the KP3+ alongside a modest family of other gear. Playing two-handed while capturing Rhodes loops without audible gaps is impossible if you have to use a “spare” hand to do it. There are a number of programmable MIDI foot controllers on the market. Unfortunately, most of them are not fully programmable and are designed for changing patches versus triggering MIDI notes. An exception to this is the Behringer FCB1010, however, it’s quite large with twelve switches and two expression pedals. I only need four switches and can’t afford the space the FCB1010 would take up.
People are making all sorts of custom MIDI controllers and there’s tons of microcontrollers that can be used for this purpose. I won’t get into all the options, but a few examples include Arduino (perhaps with a SparkFun MIDI shield), Teensy, Livid Brain V2 or Brain Jr, and Highly Liquid’sMIDI CPU. It just so happened that I had a Highly Liquid MIDI CPU on hand that I was sent to me as a sample years ago. I had used it for a few experiments, but nothing on a permanent scale.
Following instructions on the Highly Liquid website I was easily able to reprogram the MIDI CPU via sysex and start testing it with the KP3+. In minutes I had a prototype working that was triggering the sample buttons properly. With that piece confirmed I ordered four momentary foot switches and a sturdy aluminum enclosure. I measured and drilled all the holes for the four switches, DC power, MIDI in, and MIDI out. I soldered it all together and started using it immediately. I’m very pleased with the results and hope to use the foot switch for years to come. To an extent it is future proof because at anytime I can reprogram it via sysex through the MIDI input. A second reason the MIDI in is useful is because I can still send the connect device MIDI from another source (MIDI clock for example). This works because the MIDI CPU can be configured to mirror the MIDI in to the MIDI out while merging messages that originate from the circuit board. Handy!
This was an inexpensive, easy, and elegant solution to a frustrating problem. Custom MIDI controllers are getting easier and cheaper to build all the time. I’d love to hear about your DIY MIDI controller projects in the comments below. Thanks for reading!
