Experimental: Concepte ooeevv

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Moog Doodle Sonic Experiment and Google honors

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What happens when you take Animoog, a MF-102 Ring Mod, a MF-104Z Analog Delay, the Moog Google Doodle, and put them in a room together? Pure sonic creativity.

Has Bob Moog inspired you? #celebratebob

check out the whole celebration at: www.moogmusic.com

By the way here’s a birthday gift from Google – Google Honors Bob Moog, Turns Search Engine Into A Synth!

In the early days of sampling – radio exploration

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This programme is an experiment. An exploration. It’s been put together with enormous enthusiasm and equipment designed for other purposes. The basis of it is an unlimited supply of magnetic tape, recording machine, razor blade, and some thing to stick the bits together with. And a group of technicians who think that nothing is too much trouble – provided that it works.

“You take a sound. Any sound. Record it and then change its nature by a multiplicity of operations. Record it at different speeds. Play it backwards. Add it to itself over and over again. You adjust filters, echos, acoustic qualities. You combine segments of magnetic tape. By these means and many others you can create sounds which no one has ever heard before. Sounds which have indefinable and unique qualities of their own. A vast and subtle symphony can be composed from the noise of a pin dropping. In fact one of the most vibrant and elemental sounding noises in tonight’s programme started life as an extremely tinny cowbell.

“It’s a sort of modern magic. Many of you may be familiar with it. They’ve been exploiting it on the continent for years. But strangely enough we’ve held aloof. Partly from distrust. Is it simply a new toy? Partly through complacency. Ignorance too. We’re saying at last that we think there’s some thing in it. But we aren’t calling it ‘musique concrète’. In fact we’ve decided not to use the word music at all. Some musicians believe that it can become an art form itself. Others are sceptical. That’s not our immediate concern. We’re interested in its application to radio writing – dramatic or poetic – adding a new dimension. A form that is essentially radio.

“Properly used, radiophonic effects have no relationship with any existing sound. They’re free of irrelevent associations. They have an emotional life of their own. And they could be a new and invaluable strand in the texture of radio and theatre and cinema and television.”E

 

Waveform Made of Vinyl Records

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Benga – I Will Never Change

“When we were asked to pitch on the promo they sent us the track as a ‘Soundcloud’ link, we usually get it sent as an MP3. For the first time we were not just listening to the track we were also watching it. There was something mesmerising about this in its simplicity. This ignited the idea to create a real life three dimensional waveform. We started to think about the fact that a vast amount of our music is consumed online and has lost a sense of physicality this lead us to the idea of using vinyl records. We also loved the way it related to Benga as an artist who’s background comes from using records as a DJ or producer.

The maths worked we would need 960 records to create 1 minute and 20 seconds worth of wave form. Each one had to be individually cut to a specific size, hand labeled, hand numbered and then finally polished. This prep took 7 full working days and then the animation process took around 30 hours.

To animate the wave form, we built it and then carefully removed each individual record. This had to be done very gently as any shift in the position of the sculpture would result in the failure of the animation and as we had to literally destroy each piece of vinyl to get it off, there was only one chance to get it right. Once the sculpture was finally built, the animation process took about 30 hours.”

Download the full track here – smarturl.it/Benga-IWNC
Directors – Us
Producer – Liz Kessler
Line Producer – Connor Hollman
DoP – Matt Fox
Gaffer – Ben Fordesman
Editor – Vid Price
Grade – Mark Horrobin
Animation – Alice Dupre
Structural consultant – Jorge Betancor
Runner – Tayo Rapoport
Runner – Paul Mckelvie
Runner – Chaelyn Allcock
Production Company – A+
Commissioner – Dan Millar
Management – Phil Hutcheon / Andrew Foggin

Fun stuff: Bananaphone TouchSynth

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Sonic Kusama at Tate Modern

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Workshop exploring connections between the work of Yayoi Kusama and creation and representation of new music & sound art through visual audio interfaces.

Presented by Simon Little and Kelvin Brown with Chase Lane.
Audio track by Capstone Music
Video production by Territory Studio

If you’re in London, Infinite Kusama is on view now at the Tate Modern.

I Dream of Wires 3: Orphx & Modulars – The Physical Element

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Canadian duo Orphx have been releasing electronic music since 1993, and while they were best known in experimental/industrial music circles for many years, today they are regarded as pioneers in the fusion of techno and industrial music. Orphx’s recent output on Sonic Groove has met with critical acclaim from many of techno’s leading DJs. Having performed live with laptops for several years, Orphx’s Christina Sealey made the decision to delve in modular synthesizers, hoping it would bring some spontaneity and excitement to Orphx’s music, both on stage and in the studio.

Orphx’s Christina Sealey will be performing live, as part of Sealey/Greenspan/Lanza, at I Dream Of Wires’ 2012 MUTEK showcase.

For more info on Orphx: orphx.com

I DREAM OF WIRES is a forthcoming documentary film about the history and resurgence of modular synthesizers. The film is currently in production. This is the 6th in a series of extended interviews, which will be produced and released in various formats throughout the production, and following the release, of the film. I DREAM OF WIRES extended interview segments are sponsored by MATRIXSYNTH (m.matrixsynth.com).

Catch I DREAM OF WIRES’ showcase at Mutek Montreal 2012: Saturday June 2 @ Satosphere, with live performances, all incorporating modular synthesizers, by Sealey/Greenspan/Lanza (Orphx/Junior Boys), Keith Fullerton Whitman (Kranky/Editions Mego), Solvent (Ghostly International/Suction Records), Clark (Warp Records), and Container (Spectrum Spools).

For info on the film: facebook.com/idreamofwiresdocumentary

Oscillographic Synthesizer and Computer Interface

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The de/Rastra oscillographic synthesizer is a real-time audio/video instrument and computer-interfacing device that allows a performer to generate visualizations intrinsic to cathode ray tube technology while simultaneously creating the acoustic analog of the displayed imagery. The de/Rastra oscillographic synthesizer is an open source project and will eventually be accompanied by tutorials on methods of CRT hacking. Related tutorials can be found at http://www.crackedraytube.com/textstutorials.html but specific information regarding de/Rastra are in progress.

SketchSynth – A drawable OSC control panel

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Guitar Sounscapes with Ebow & csGrain

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More info on the video below:

A brief collection of 3 improvised soundscapes and patches on CSGrain for iPad with my guitar and an Ebow. Don’t expect superb playing skills as the guitar is not my main instrument. Also sorry for the ground noise and artifacts, this was recorded on the fly. The audio chain is: guitar to Lexicon Omega to iPad, then processed by csGrain and the audio output goes back to the Omega and this to Sonar on the PC thru the EMU 1820m.

I’ve included the camcorder mic sound on the last patch (from minute 5:03 to 6:30 ) because I loved the sound generated by the collision of strings with the ebow while vibrating and found it fitting pretty well with the soundscape. I hope you like it.

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