Thanks to Séverine Ballon for this intense performance at CCRMA last week – and for asking me to write the piece in the first place! A new one for cello, live electronics, and light/video. Use headphones, set to full screen, and pull up a comfy chair – it’s almost 17 mins long – for the cheerfully titled “Not Even The Dead Go Free”. I will have a proper binaural mix early in the new year.
Also, people are still walking into the room after intermission as the piece starts… hence some of the noise at the beginning of the video, it’s not just people running away…
Lots more music and sound objects to follow in early 2018
I showed an early version of this installation at CCRMA Open House (Stanford University) in April 2016. This is an updated version shown during Ensemble Pamplemousse’s recent 2017 Chance and Circumstance Festival in New York. The installation uses MAX, Arduino, Photoresistor… and cookies
With thanks to Bryan Day’s San Francisco/Bay Area based Eh? Records Aural Repository comes my relatively recently released album of solo recordings. These performances use various degrees of SuperCollider controlled bandpass filtered feedback, violin bows and strings, a good old SM 57, and some electric guitar. They can all be checked out in the following ways –
Thanks to all the wonderful musical involved in making these recent recordings and performances possible. These are just rough mixes of each piece as life has not recently afforded me much studio time. Here are Liminar, Quince Contemporary Vocal Ensemble, and the combined super powers of the JACK and Spectral Quartets –
Old Flame Fire Brigade – for String Octet and Live Electronics
Not For Love Nor Money At Least Not Legally – for Mixed Ensemble and Live Electronics
We Have An Exciting New Role For You – for Four Female Voices and Live Electronics
Here is version one of a new piece – Mixed Messages from the Other Side – recorded live by Splinter Reeds at CCRMA last Friday. Reed quintet with live electronics – variable band pass filtered feedback, a little pitch tracking, and a reversed noise gate… this is a strange one…
Thanks to Kyle Bruckmann (oboe), Bill Kalinkos (clarinet), David Wegehaupt (saxophone), Jeff Anderle (bass clarinet), and Dana Jessen (bassoon).
A full score, a video of the CCRMA performance, and a second version of the piece from Saturday’s Center For New Music concert to come.
October 2015 and editing, processing, and posting of some recent materials is not happening quite as fast as I hoped. However, there are very good reasons for this. Life is musically very busy and so far the real world is still better than the virtual world, so I figure it is better to concentrate on the real-world-musically-busy-life while the going is good. For now, here are some extracts and rough edits of bits and pieces from the last few months. They’ll be replaced by better edited video and higher quality audio versions over the coming few weeks.
An excerpt from –Up Upon The Rhizome (May 2015)
Soprano – Tony Arnold, Tuba – Max Murray, A Very Large Space – The Entrance Lobby of The Cantor Arts Center (Special thanks to the Staff at the Cantor who very kindly and very supportively turned over their art museum to some colleagues and I for several evenings), a single speaker playing mono fixed media and slightly distorted amplification of the performers. This piece is something of a response to the Deborah Butterfield Untitled (commonly know as one of her Driftwood Horse Statues) in the entrance lobby of the Cantor. Thanks to Tony and Max for their incredible work, which made the night a really great success… the world needs more Soprano and Tuba pieces!!!
Diegesis – Something Like In Memoriam (March 2015)
One camera angle version of a scene for two musician/actors, piano, percussion, fixed electronics (Utilizing Modal Distortion – currently under development by Professor Jonathan Abel), live electronics, arduino/photosensor controlled fan, and ultrasonic speaker. In a live performance the fan moves the signal from the ultrasonic speaker around the performance space. A three camera version with higher quality audio – in which you can hear the final section of ultrasonic spatialization better – is on the way
Also, here are two parts from a series of pieces I’ve recently made called Are You Dancing? Each piece uses the same set of building materials in various combinations. SuperCollider plays audio files that use Modal Reverb, Pitch Shifting, and Pitch Inversion plug-ins currently under development by Professor Jonathan Abel. In addition, SuperCollider is also used to control band-pass filtered feedback patches, which process live and recorded guitar and bodhrán tracks.
The first piece in the series is for Laptop Orchestra live-coding elements of the SuperCollider code. This will get an airing in December in Iowa. The second piece (performed at CICTeM 2015) is for video and 4-channel audio, here I am posting the video with a stereo mix. This third piece is for fixed and live electronics, electric guitar, and bodhrán in 8-Channels. The live version here uses non-mastered camera audio from CCRMA’s 2015 Transitions concerts.
Are You Dancing? The Second Assemblage (September 2015)
Are You Dancing? 3rd Iteration (September 2015)
Finally, I just received some files from some recently graduated UCSD performance students: Pablo Gómez Cano, guitar; Scott Worthington, double bass; and Dustin Donahue, percussion. They performed and recorded a piece last April that I wrote for them… one more thing to be edited and posted soon… In the meantime check out Scott Worthington’s recent album of Double Bass works: