"Places Above The Air is Jesse Whitney & John C. S. Keston. The song titles on their self-titled debut album are from a passage from the Egyptian Book Of The Dead, as translated by Normandi Ellis. This is track two.
"This is the last in a series of live audiovisual collaborations with Chris LeBlanc and Shawna Lee. The performance was captured at at the Lakely in the Oxbow Hotel, Eau Claire, Wisconsin (https://www.theoxbowhotel.com/lakely/) on September 30, 2023.
Chris LeBlanc and Shawna Lee produced live visuals using their integrated, modular video synthesis systems as I performed. This piece titled, Dark at the End of the Tunnel, is an electro-acoustic piano composition. In this adaptation I used a a stage piano, but the processing and accompaniment are as they would be if the piece were performed on an acoustic instrument.
Please take a look at Chris’ (@blindprophet) and Shawna’s (@iamadot) Instagram feeds to see more of their work.
Note: Listening on stereo speakers or headphones is suggested. The audio was recorded direct via a loop back output on the stereo DI to a Zoom H6 at 48kHz 24bit"
"This is the first in a series of live audiovisual collaborations with Chris LeBlanc and Shawna Lee. The performance was captured at at the Lakely in the Oxbow Hotel, Eau Claire, Wisconsin (https://www.theoxbowhotel.com/lakely/) on September 30, 2023.
Chris and Shawna produced live visuals using their integrated, modular video synthesis systems as I performed. This as yet untitled piece is driven by morphing drums and sequences on the Dirtywave M8 tracker. I also live looped a Rhodes pattern on the Numa X Piano GT. The formant-filtered-voice-like-lead was played on the Osmose Expressive E.
I’m thrilled with the analog visuals that Chris and Shawna produced. The image above shows Shawna’s (left) and Chris’ (right) video systems. Please take a look at their Instagram feeds to see more of their work:
Note: Listening on stereo speakers or headphones is suggested. The audio was recorded direct via a loop back output on the stereo DI to a Zoom H6 at 48kHz 24bit"
A/V Collab Part 2: Osmose, Dirtywave M8, Numa X GT
"This is the second in a series of live audiovisual collaborations with Chris LeBlanc and Shawna Lee. The performance was captured at at the Lakely in the Oxbow Hotel, Eau Claire, Wisconsin (https://www.theoxbowhotel.com/lakely/) on September 30, 2023."
"The Osmose is inherently susceptible to an emotional response akin to our revulsion toward humanlike robots. I admit that this may seem a bit exaggerated, but I consider this evidence of a marked advancement in music technology; the Osmose gives keyboard players the ability to inject nearly as much expression into a synthesizer engine as musicians are able to express with tactile acoustic instruments. Read more at https://audiocookbook.org/osmose-expr..."
"This video demonstrates a new feature in Hydramorph v1.1.0 that allows users to morph between two presets. Use the drop downs to choose preset A and preset B, then update the number box or the slider between to morph between the two presets. For example if you set the value to 0.75 then your Hydrasynth will contain a new patch that is interpolated 75% of the way from preset A to preset B."
"REV2 Degrader™ (R2DG for short) is a morphing patch editor for the Sequential Prophet REV2 polyphonic analog synthesizer. The application is designed to algorithmically morph parameters on the instrument in realtime. Keep playing or record the results as up to one-hundred-twenty-one parameters on the REV2 are changing all at once!
Use R2DG to create anything from chaotic rapidly changing textures to slow evolving drones. REV2 Degrader breathes new life into the Prophet REV2 allowing you to explore vast unique soundscapes illustrating how powerful and diverse the possibilities of the REV2 really are. This tool is designed to help you uncover new territory hidden within the sonic depths of your instrument. Although R2DG was specifically built to work with the Sequential Prophet REV2, the software is independently designed and developed by John C.S. Keston of AudioCookbook.org and unaffiliated with Sequential.com. For more info please visit:
"HYDRAMORPH is a generative sound design tool for the Ashun Sound Machines Hydrasynth polyphonic analog synthesizer. The application is designed to algorithmically morph parameters on the instrument in realtime. Keep playing or record the results as up to 366 (so far) parameters are manipulated! Use HYDRAMORPH to create anything from chaotic, rapidly-changing textures to slow, evolving drones. HYDRAMORPH will help you navigate the expansive sound design possibilities of the Hyrdasynth through realtime morphing of customized parameter sets. This allows you to explore endless, unique soundscapes, illustrating how unique and powerful the Hydrasynth is. This tool is designed to help you uncover new territory hidden within the sonic depths of your instrument. Although HYDRAMORPH was specifically built to work with the Hydrasynth, the software is independently designed and developed by John C.S. Keston of AudioCookbook.org and unaffiliated with Ashun Sound Machines (ASM).
"Strands is the working title for a series of audiovisual compositions based on the idea of animated, generative, graphic scores. Last year I composed six of these scores written in Javascript for Parking Ramp Project, a performance installation in a seven-level parking ramp with a large cast reflecting on transience, migration, and stability commissioned by Guggenheim fellow, Pramila Vasudevan. While Parking Ramp Project was composed for a trio, Strands is specifically composed for a soloist.
Rain is a new movement in the series and the first that I have produced with video of the animated score. Currently there are five movements in the piece. I performed the first four recently at the ISSTA conference in Cork, Ireland. The visual part of the piece is meant to be read like music but without the use of key or time signatures. Each time the piece is played the visuals are regenerated, so it is never performed the same way twice.
The musician may interpret the visuals in many ways. For example, in Rain lines are animated from the top of the screen to the bottom. Where the line appears horizontally is roughly regarded as pitch and as the line animates the sound is modulated. The lines also vary in weight. Heavier lines are louder and lower in pitch while thinner lines are quieter, generally higher, and sometimes altered with a high-pass filter.
I performed Rain using the Novation Bass Station II, which has a feature (AFX mode overlays) that allows for each note to have entirely different parameters. With this technique I was able to map different timbres to the keybed and use this variety in texture as another way to interpret the score. Keep an eye out for more of these. It is my intent to make videos for all five of the movements and perhaps add one or two more to the series.
"Generator is the next piece in the Strands series. These audiovisual compositions illustrate the interpretation of animated, generative, graphic scores written in Javascript. Generator is made up of connected line segments that that go from left to right, up, or down, but never in reverse. The weight and length of each segment is consistent across the width of the screen and changes once a new set of segments starts again from the left.
I interpret each set of segments as an arpeggio. The tempo of each arpeggio is decided by the segment length. Shorter segments, drawn more quickly, are paired with faster arpeggios. As the line segments wander up and down I generally interpret the Y axis as pitch, but because the direction of each segment is random the pitches are not exact representations of the paths that are displayed; neither is it the intent to exactly follow the visuals. Instead, musicians interpret the score so that human qualities contrast the computer generated visuals.
The aesthetics of the pieces in this series, both visually and sonically, are secondary to the objectives. First that the scores are composed for the purpose of being read by musician(s). Secondly, the artist(s) have space to improvise within their interpretations. Thirdly (in addition to interpretation) aleatoric elements make the pieces significantly different from one performance to the next. Finally, although the performances vary, distinct characteristics identify each piece.
The objectives of these pieces lead to music that is often atonal and/or atemporal. After about a dozen rehearsals, performances, and recordings with a trio and as a soloist it has become apparent that tonality and timing often do emerge. For example, in Generator the tempi of the arpeggios change with each animated progression from left to right. Arbitrary rests are interspersed with random lengths. This amounts to timing without time signatures. And, since the pitches are left up to the artist the notes performed may or may not be in key. In my performance I chose to use a variety of intervals and scales leading up to the chromatic scale at the conclusion.
The above is a composition by John Keston featuring PreenFM2 being manipulated by a custom patch he created with Max for Live. According to John, the patch "allows me to degrade, morph, and/or scramble sets of parameters on the synth. This is similar to a device I designed for the Yamaha TX81Z. This process creates an algorithmic approach to the sound design." You can read all about it on his site AudioCookbook.org here. The following is a screenshot of the patch and the description for the track above. You can click the image for a larger version.
Note John is heading to ISSTA 2018 for an upcoming performance utilizing his custom patch and PreenFM2. See his site for more info.
"MODULATOR is a series of pieces composed using a sequence of stochastic, deliberate, and arbitrary processes. A hybrid of algorithmic and improvised methodologies were devised to evolve textures beyond aesthetic considerations allowing peculiar, harsh, and even grotesque sounds to emerge. These processes were applied to a particular hardware-based, FM synthesizer called the PreenFM2. The instrument uses carrier and modulator waveforms organized through a series of algorithms to create a nearly infinite array of complex synthetic sounds.
The series was composed using custom software developed in Max for Live that morphs parameter values on on the synth. The values, applied to a pool of possible parameters, are interpolated over time to new values using a multi-threaded technique that allows many parameters to be changed simultaneously.
Because of chance factors in the algorithms the textures and rhythmic content will be significantly different each time the piece is performed. However, some identifying characteristics are maintained, such as how the performer “plays” the algorithm, and the peculiarities of the FM synthesizer."
"John Keston performing Vocalise Sintectica at the ISSTA 2017 concert in DkIT."
On what's going on in this performance via Audio Cookbook:
"Last September 2017 I performed at the Irish Sound in Science Technology and the Arts Conference (ISSTA.ie) in Dundalk, Ireland (video by Daryl Feehely). The performance makes use of a custom Max patch controlled by an iPad, a Novation Circuit, a KeyStep, and a Minifooger Delay pedal. It occurred to me that it might be interesting to share the roots and evolution of this piece, so here goes.
In my mind the origins of the piece can be traced back to my interest in granular synthesis. In 2009 I developed a Max based instrument I titled Grain Machine. It was essentially a touchscreen controlled granular synthesizer. I used this instrument for a number of projects including Words to Dead Lips, a dance piece in collaboration with Aniccha Arts. The instrument was played via a simple iOS interface designed in TouchOSC. A performer could access five samples, granulate them on an X-Y grid, or spin a virtual wheel with friction modeling to scrub or scratch through them..."
"In the spirit of #JAMUARY2017 (thanks to Cuckoo for having the stamina to do it everyday!) I have made a video track using the Squarp Pyramid, Novation Circuit, Moog Sub 37, PreenFM2, Rhodes, Minifooger Delay, and Korg KP3+. I’m not great at making these (hence the shaky video), but they’re fun to do every so often.
Euclidean patterns drive each of the four Circuit drum parts through individual tracks on the Pyramid. I have it setup with four Euclidean patterns per track bank for a total of sixteen. This way I can mix and match all sixteen patterns on the Pyramid and even swap them or combine them with patterns on the Circuit.
"This video illustrates Novation Circuit synth patches randomized via custom modifications to the Max for Live version of the Novation Circuit editor from Isotonik. An added drop down menu has choices to either "randomize all" (not quite all parameters), or randomize one of seven sets of grouped parameters like the oscillator section, mod matrix, or LFOs. More details are available on AudioCookbook.org:
Great demos. Check out the full review on Audio Cookbook. According to the review the DarkStar was the "Internet's most reviled synth". I don't recall this, but then I didn't spend too much time in the forums after launching MATRIXSYNTH. I have an XP2 myself and love it, although the interface does take a little getting used to. It appears John Keston is pro Darkstar as well:
"For me the DarkStar fulfills a spectrum of features that I’ve been looking for in a desktop poly. It has a low profile so I can use it along side a collection of other devices while performing. It has eight voice polyphony allowing me to produce dense harmonies. It has a bloody joystick to control the filter and resonance! The joystick can also be configured to control ring modulation and oscillator mix. Many knobs make sculpting the sound in realtime possible. The LFOs have ramp, triangle, square, sine, pulse, sample & hold, and “random” waveforms. What random does is pretty remarkable. Similar to slew on the Novation Bass Station II, it interpolates or slides between random values instead of jumping to them like sample & hold does. This is especially nice for panning and one of the things that distinguishes the DarkStar from other VAs of the time."
"This quick demo illustrates how TX81Z Patch Degrader is interpolating between the previous and newly generated parameter values. TX81Z Patch Degrader is a Max for Live MIDI effect that chips away at patches on the TX81Z by randomly changing (or degrading) parameters at a specified rate. What makes the process interesting is that it is now possible to ramp up or down (or interpolate) to the new value rather than changing it instantaneously.
To create the Max for Live MIDI instrument I started with TX81Z Editor 1.0 (http://www.maxforlive.com/library/dev...) by Jeroen Liebregts who was kind enough to share his work on maxforlive.com. I added in the degradation process features and made some adjustments to the interface to make room for the controls. Once I get things shaped up I'll be happy to share the patch if anyone is interested.
"I have had some time to experiment further with the new Moog Sub 37 firmware. In this demo I show seven new features within the sequencer and arpeggiator sections of the instrument. First I review how to turn steps on and off while in step edit mode. Secondly I show how to set the start and end positions of the sequence while it continues to run. Thirdly I show how to create ties between two or more notes and then disable them on the fly. Fourth I demonstrate how to turn on/off step ratcheting and how to modify the number of ratchets. For the fifth feature I adjust the swing amount. The sixth feature is modulation sequencing that I applied to the filter envelope amount. Finally for the seventh feature I demonstrate how to shift the sequence back or ahead of the first step.
"Yesterday I got a note from Moog that the long anticipated 1.10 firmware for the Moog Sub 37 was now available. Today I scheduled time in my studio to install it and test out some of the new features. This update is significant because the bulk of the updates are new features! In this video I demonstrated step edit mode and quick mapping of modulation destinations.
"This analog-sourced audiovisual piece is a collaboration with video artist Chris LeBlanc. The visuals were performed with a Hi-8 camera running through Tachyons+ and LoFiFuture processors, then keyed with a Bleep Labs synth. On the music end I have a Moog Sub 37 running through a Minifooger Delay and synched up to an Elektron Analog Four.
"This is the sixth selection from takes during a five day recording session and performance series at the Singing Ringing Tree (SRT) in Burnley, UK, 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.
"This is the fifth selection from takes during a five day recording session and performance series at the Singing Ringing Tree (SRT) in Burnley, UK, 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.
