Performing Christian Wolff’s Sticks with Andrew Raffo Dewar and Tim Feeney at the Sassafras Center for Arts and Environment.
I’m so happy to share the gorgeous documentation of this event. Along with Cage’s Inlets, Bacchanale and Litany for the Whale, there’s some Gibbons, Bach and Gould. Interspersed through the second part are on-the-fly virtual conversations between Cage and Gould.
In this TED Talk Ge Wang of Stanford geeks out about computer music (hooray!). He talks briefly about the hemispherical speakers used by the Stanford Laptop Orchestra. Their design (using an IKEA salad bowl) informed my hemi speaker experiments here.
I recently bought a 6-channel amplifier to upgrade the 3 2-channel amps I originally installed in the speaker. I’ll post about the new amp as soon as I drop it in.
I’m getting ready to do some landscaping and wanted to get an idea about how much sun shines on different parts of the yard. Today’s weather prediction was mostly sunny, so I fired up a webcam, gaff taped it to the window and hacked a quick intervalometer Max patch. I grabbed a frame every 30 seconds capturing a total of 1133 frames during the day. This video shows them at 30 frames per second.
Thanks to Day of the New Dan’s Time Lapse Assembler for coming through when ImageMagick choked.
I’m excited to perform next week as part of the Sonic Frontiers season. I plan to play a set of pieces for banjo and electronics drawing from the material on Post & Beam, adding a few new twists, and hopefully including one or two “sound bug” pieces from my Radicans project.
I think it’s going to be a great night!
Thursday March 7 2013 at 7:30pm
Bama Theatre Greensboro Room
600 Greensboro Ave.
Admission is Free.
Thanks to Eric Hardiman for shooting and posting videos from Saturday’s Albany Sonic Arts Collective show.
This is the premiere of a soon-to-be-titled work built around the idea of treating a fader box as a set of pump organ pedals, rather than simple position sensors. Using Cycling ’74’s Max I can control the organ sounds with a variety of gestures: “pumping” the faders makes the sounds louder, rhythmic motion creates harmonics, sudden and abrupt changes add distortion and bite. The samples that appear at 5:30 are from a 2010 recording session with choreographer Jill Sigman (previous story here).
(Start at 1:32 to skip the embarrassing banter and the hopeless yet obligatory banjo tuning…)
“No Mule” is another brand-new tune. The rhythmic chopping effect is a kind of slow-motion walk through a live sample of the banjo. I add a few more live samples beginning at about 4:00 and get into full-on Steve Reich mode by 6:00.
I made these 4 short pieces to celebrate the new folding chairs ASAC has provided for the UAG. One folding chair, two contact mics, a superball mallet, a cheap cello bow and Max–the pieces practically made themselves.