Weeping Willow Street Improvisations
Feb 2nd
Last November I spent a memorable, rainy afternoon at Travis Weller’s place performing a house concert as part of his Willow Street Concert Series. Nick Hennies wowed us with music for solo percussion including an entrancing performance of Alvin Lucier’s Silver Streetcar. I played music for fretless banjo, bent electronics and computer. Then Travis and I improvised two pieces with Travis playing his Owl, a custom-built piano wire lyre with electronics. Nick joined in for the last piece of the afternoon. The rain kept us company all along.
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One-Man Band – Pat Metheny Upgrades a 19th-Century Concept – NYTimes.com
Jan 31st
The New York Times has a preview of Pat Metheny’s project with musical robots from LEMUR (and others): One-Man Band – Pat Metheny Upgrades a 19th-Century Concept – NYTimes.com.
I loved my short time working with the LEMURbots (residency, video, photos, Issue Project Room). Someday I hope to get (and share) the footage from my performance at LEMURplex.
LEMUR’s Eric Singer and Leif Krinkle are both quoted in the article. I can’t think of anyone better to work on a project like this.
Jill Sigman/thinkdance improvisation
Jan 31st
This time last week I had the pleasure of working with choreographer Jill Sigman/thinkdance and videographer Peter Shapiro who were artists-in-residence at EMPAC. I recorded some sounds of the objects and materials Jill was working with and then improvised with the samples, my fretless banjo, and vocalist/composer Kristin Norderval (remotely via Skype). Peter has posted some raw footage from our sessions.
I look forward to seeing how this project continues to take shape.
Mt. Washington Pt. 2: Rime
Jan 30th
January 11: Summit Weather
- High temp: 5 F
- Low temp: -2 F
- Average Wind Speed: 46.7 mph gusting to 72 mph
A foggy day with visibility down to 1/16th of a mile. The observatory reported zero hours of sunshine for the day. Perfect conditions for rime ice. We could hardly step outside without it accumulating on our clothes and, of course, our gear.
My recording bag covered in rime ice. My headphones were unscathed since I wore them under my balaclava (and hat (and parka hood)).
I brought out my contact mics to record the sound of rime accumulating on them. The best spot I found was attaching them to the windward side of a wooden sign post. Here’s an excerpt:
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Listening to the entire recording one can clearly hear the frequency of the resonant ping sounds increase as more ice accumulates. I suspect the ice accumulation reduces the surface area of the contact mic or otherwise stiffens the transducer–in a manner similar to a drummer increasing the pressure on a drum head and thus causing the pitch to rise.
Here’s a recording of an ice-covered chain squeaking in the wind. The squeak is less metallic than I expected, sounding more like rubbing ice cubes together.
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Here’s a photo of the chain (taken on another, much sunnier day). Yes, this chain appears to be preventing the building from blowing off the mountain. The story I heard is that the chains were an important part of the original building. When they rebuilt the structure, chains were included as an historical and decorative element. There were times when I could have used a chain or two to prevent me from blowing away.
Jackie and I covered in rime ice after our contact mic recording expedition.
Mt. Washington Pt. 1: Going Up the Mountain
Jan 29th
I’m back home from the Mt. Washington shoot where I was so busy I never posted any updates. So I’ll be posting news of the trip many days late.
Here's all of my audio gear packed up and ready to go.
January 9: We all gathered at Jackie’s house, threw our gear in the van and drove to New Hampshire. Jacqueline Goss was the leader of the crew: video artist, writer, director, producer. Jesse Cain: cinematographer. Dani Leventhal: talent. (She hates that word, but after spending the better part of a week together I think it fits just fine.) We spent the first night enjoying the comforts of the Appalachian Mountain Club Joe Dodge Lodge. Jesse unpacked and assembled the camera so we could begin shooting first thing in the morning.
Jessie and Dani checking out the focal length on the 135mm lens
January 10: First thing in the morning we met our ride up the mountain (snow tractor!) at the Auto Road and took a minute to shoot a few establishing shots.
Mt. Washington (the summit is obscured here--it's just behind the peak on the right)
On the way to the summit we stopped just above the treeline to shoot a few more scenes. I loved seeing the stunted krumholtz trees that are just visible in the lower left corner of this photo.
Jackie and Jesse on the Auto Road
Late morning, we arrived at the summit and quickly unloaded our equipment. Visibility was good, and since we didn’t know whether we’d get clear skies again Jackie and Jesse and Dani peeled off to shoot some scenes that didn’t require sync sound while I took a look around the observatory and organized our gear.
Summit Weather:
- High temp: 1 F
- Low temp: -5 F
- Average Wind Speed: 45 mph gusting to 62 mph
Here’s an excerpt from the first day of recording; a scene where Dani knocks the rime ice off a sign. These sounds are indicative of winter weather on the mountain: wind envelopes everything, so even rather violent actions produce only faint tinkles of ice.
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Metroland Mentions Faust in Best Live Shows of 2009
Jan 6th
Photo: http://www.flickr.com/photos/invisible-city/ / CC BY-NC-ND 2.0
Metroland critic Mike Hotter has chosen last September’s Faust show at Proctors as one of his top live events for 2009:
2. Faust, Holland Hopson, Century Plants
GE Theatre at Proctors, Sept. 30
Seminal German art-rockers Faust showed why they have been championed by avant-garde musicians for more than 30 years, while hometown openers Holland Hopson and Century Plants performed amazing outré music of their own. Hopson, in particular, is a must-see performer, a musical treasure hiding right under our noses.
Hotter’s mention of us “hometown openers” is certainly welcome, though his superlatives may not be entirely deserved.
Josh Potter chose the Boredoms as his top show of the year; I was surprised that it didn’t show up in any of the other critic’s lists. Read the entire article with all the other critic’s picks.
Favorites from 2009
Jan 2nd
Here are few favorite picks of recorded media, live shows and print from 2009. As usual, I’m not much of an up-to-the-minute consumer so some of this may be old news. The exception here are the live shows, of course, so let’s start there…
Live Music
My two favorite shows were at EMPAC. The pummeling dished out by The Boredoms + 9 drummers easily takes the top spot. Garth Knox’s viola and viola d’amore might have been the polar opposite of The Boredoms but was no less riveting. I was also mightily impressed with 2009 ASAC guests Area C and Ben Bracken.
Recorded Music
The only new release on my list this year is Take Me To the Water from Dust to Digital. It’s a solid (maybe even stolid) collection of gospel–no real surprises or major standouts. But combined with the beautiful book I know I’ll be returning to this one often.
Two older CDs of music by Arthur Russel and Julius Eastman are now safely ensconced in my desert island collection:
Arthur Russel World of Echo
Where has this record been all my life? I had heard Russel’s avant-disco but was unprepared for the intimacy and sweet strangeness in this recording.
Julius Eastman Unjust Malaise
A life-changing collection of prescient music from a singular talent. There are so many standouts in this collection that it’s hard to choose a favorite.
And some assorted highlights from the year’s listening:
The Hub The Hub & Wreckin’ Ball
Tim Perkis/John Bischoff Artificial Horizon
Some of the synthesized sounds on these records date them, yet no one has better explored the potential for musicking with communication technology. The Hub is still at the heart of the genre, and sadly the genre is still too small. Maybe all those laptop orchestras with their hemi speakers will carry on some this work. They would do well to revisit these recordings.
Junior Kimbrough and the Soul Blues Boys All Night Long
Languorous sound that builds a Calatrava-style bridge between a juke-joint in Mississippi and the sacred sites of minimalism, drone and raga. On second thought, maybe that juke-joint in Mississippi IS a sacred site of minimalism, drone and raga.
Art of Field Recording Volume I
Another Dust to Digital release. I lived with these recordings for most of the year–and won’t be forgetting them soon.
Gloria Coates Symphonies Nos. 1, 7 and 14
This was recommended to me when it first came out. I’m sorry I missed it until this year.
Books
This is Your Brain on Music by Daniel Levitan was probably the most fun I’ve had thinking about music and sound in a while. His Six Songs is less interesting/convincing, but a good intro to questions about music and evolution.
I enjoyed John Adams’s Hallelujah Junction more than I expected, based on my experience with Adams’ music. (When will John Luther Adams write a book?) I found his tales about his origins and development illuminating and his writing refreshingly frank. It was especially interesting to read about his life in San Francisco during the 1960s which leads to…
The San Francisco Tape Music Center: an excellent overview of an under-appreciated group of electronic music pioneers and their fascinating intersections with popular culture. This collection puts a new spin on the usual Columbia/Princeton/Bell Laboratory history of electronic music in the US.
Music Technology
I expected 2009 to be about Max for Live, but I never got around to buying Live and then had no reason to get Max for Live. Instead, the one piece of music gear that’s made the most impact on my work in 2009 is an 1860’s style fretless tackhead banjo built by Eric Prust.
Back to the software side, the most notable music software I used this year was for the iPhone
Cleartune is easily the best tuner I’ve ever used. It still makes me a little giddy at how wonderful it is to be able to switch between equal tempered tunings and all manner of Pythagorean, just, meantone and historical tunings. My trusty clip-on tuner finally died this year; I’m not sure I’ll replace it.
SoundLevel is a free, bare-bones sound level meter app. I haven’t upgraded to SoundLevel Pro because the free app does me just fine. The convenience of always having a sound level meter on hand means that I’m much more likely to use it. In fact, it’s become an important step every time I set up a PA or go to a friend’s house to listen to mixes. Not to mention the ability to quickly check how loud that blender really is–time to put in earplugs!
On the productivity/inspiration side of things, OmniFocus for iPhone is essential for me. And the iPhone’s built-in Voice Memos app has become my favorite way to capture a sonic idea or lyric phrase–if only there were a better way to offload those files to my machine rather than having to go through iTunes…
Looking ahead to 2010
Maybe 2010 will be my time for Live and Max for Live. I’ve just started dipping into the Pinewoods International Collection of folk tunes and I expect the book will occupy me for most of next year. I’m hoping that by 2011 I’ll be able to frail my way with ease through all those odd time signatures. Finally, I’m looking forward to making more field recordings with my recently beefed-up rig which now includes a Fostex FR2-LE and a Rode Blimp.
New Look for the New Year
Jan 1st
Happy New Year! The Field Guide is putting on a new look for 2010. Please pardon the under-construction elements. I hope everything will be put together soon.
Salad Bowl Hemi Speaker #2
Dec 27th
I recently completed my second salad bowl hemi speaker. (See info on the first one here, including links to the Princeton and Stanford laptop orchestras which provided excellent guides to construction.) My second speaker followed the design and construction of the first very closely, with the substitution of Polk Audio DB401 speakers. The Polk speakers were significantly cheaper than the Infinity speakers. I haven’t directly compared the speakers, but I remember the Infinity speakers to be heavier and louder than the Polk speakers. The frequency response of both seems very similar. I do prefer the mounting tabs on the Infinity speakers to the broad flange on the Polk speakers. When mounting them on a hemispherical surface, the Polk speaker flanges don’t lie quite as flat (er…curved).
Here are some photos I took during construction.
This is the bottom of the speaker. I simply scribed the circumference of the bowl on a piece of 1/2″ plywood and cut out the circle using a jigsaw.
Salad bowl with speaker holes marked and taped
Here’s the bowl with the position of each speaker marked and taped. If you look closely you can see a small red mark at the center of each circle. I used a string attached to the center of the bowl to mark the center of all the equatorial speakers. The tape is simply to prevent the bottom of my jigsaw from scarring the surface of the bowl.
Salad bowl with holes drilled for jigsaw blade
Next I drilled holes in each speaker cutout large enough to fit the blade of my jigsaw.
Salad bowl with speaker holes
Here’s the bowl with all the speaker holes cut. It’s easy to crack the salad bowl after removing so much of the material, so take care with all subsequent drilling and cutting.
Detail of cut used to enlarge back of speaker opening
One result of working with the elliptical geometry of a hemisphere is that the back side of the holes we cut is slightly smaller than the front side. This might prevent your speakers from sitting flush against the surface. I only needed to trim a few places from the back of each circle to get the Infinity speakers to mount flush, but I had to cut the entire back edge of each opening in order to mount the Polk speakers.
Finished hemi showing knobs and connections
Here’s the finished speaker. (I know, I skipped plenty of intervening steps! I was having too much fun putting all the pieces together to stop and take pictures.) The volume knobs (one for each stereo amp) are on the left. In the middle is the power connector. On the right is a 6-conductor Neutrik connector for all the audio signals.
Finished hemi on top of subwoofer
A front view of the finished speaker. It’s sitting on top of a Sony subwoofer I picked up at a yard sale. The two together have a nice R2-unit look. I’ve set the crossover fairly high (around 300Hz). I expect I’ll back it down after some more listening tests.
I’ve already performed once with this hemi. So far, the biggest problem I’ve encountered is having the amps cut out on me when the input levels get too high. The Dayton amps seem to have a protection circuit that shuts them down when they’re driven too hard. It’s better than having the amps blow up, to be sure, but a bit of a drag having the audio suddenly drop out. Sending the low frequency signals to the sub seems to ease the load placed on the hemi amps. I’ve also been experimenting with limiters and high-ratio compressors, but I haven’t yet found the silver bullet. I’ve only scratched the surface of spatialization possibilities with this setup, and I’m looking forward to working with it even more.
