Vocalise Sintetica at Echofluxx 14, Prague

On May 7, 2014 I performed Vocalise Sintetica at the Echofluxx Festival in Prague. The piece is made up of four movements: I. Machines (00:00), II. Liquid (18:43), III. Vocalise (28:55), and, IV. Sintetica (38:41). Each movement is a playlist of five audiovisual objects that are instantly available to be projected and amplified while being granulated in real-time by a performer using a multitouch interface. The performer may loop their gestures applied to the audiovisual objects in order to bring in additional synthesized sound layers that contrast or mimic the audiovisual objects. My performance at Echofluxx was made possible by a grant from the American Composers Forum with funds provided by the Jerome Foundation.

exploring_tafacka

I am very pleased with the result of the performance and quality of the audio recording in the video. The documentation produced by Dan Senn contains the entire 45 minute performance. Trafačka Arena, the venue for the performance, was originally a decommissioned power station. The room was a reverberant cement rectangle with incredible acoustics. You may recognize some of the video used in the performance from other projects. The majority of the video was recorded specifically for Vocalise Sintetica, but I also used video from Machine Machine and Voice Lessons as well as two short clips of found video in the first movement.

Echofluxx Setup

Technically the piece centers around a Max patch that handles the audiovisual granular synthesis. The patch is controlled by an iPad running MIRA by Cycling 74. MIRA allows Max developers to create iPad interfaces within the Max patch using standard Max objects. One of the key functions new to this patch is the ability to record and loop gestures. This feature allows the performer to let a sequence of audiovisual content loop while adding layers from other instruments. In this example I used a Novation Bass Station II running through a Moog Minifooger Delay and a Korg Volca Keys. I modified the Volca Keys with a MIDI out jack to provide synched clock to the Bass Station II.

This entry was posted in Max, Music, One Synthesizer Sound Every Day, Performance and tagged , , , , , , , , , , , , , , , , , , , , by John CS Keston. Bookmark the permalink.

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.

Leave a Reply