
Twin Peaks in San Francisco, as seen from the west slope of Potrero Hill. Shot with Hipstamatic on an iPhone 7.
This Wordless Wednesday also makes Yom Kippur. For those who observe with us, G’mar Hatimah Tovah!

It looks like Tiffany the cat has found a nice napping spot on top of a Moog Voyager synthesizer. From andromeda118 on Instagram. Such a sweet pic. đź’•
To mark the composer, multi-instrumentalist and band-leader Vinny Golia’s 70th year, over 70 musicians gathered together for the largest of Vinny Golia Large Ensembles. The event took place at the Finnish Kaleva Hall in Berkeley, California.

[Photo by Charles Smith]
The ensemble was arranged into sections based on instrument group, e.g., percussion, guitars, winds, brass, electronics. I was in the “piano” group rather than the electronics, since I had opted to read standard notation rather than graphical scores. None the less, I brought a tiny setup to this “yuge” ensemble: a Roland “Boutique” JP-08 and a Moog Mother-32.

The two-hour long performance consisted of 25 or so pieces composed by Golia, a mixture of standard notation, graphics and instructions. He conducted the ensemble quite closely, selecting pieces, encouraging sections to emerge, and singling out folks for solos. Musically, the sound has a film-score-like quality. Given the length and duration, there was the hazard of the ensemble degenerating into a loud morass of free improvisation. Golia’s conducting – which he was quite meticulous about with us during rehearsal – and the various solos punctuating the sound helped prevent that from happening.
Golia himself performed during the set, using his trademark array of reed instruments, including the multiple saxophones and the visually striking contralto clarinet.

[Photo by Charles Smith]

Not surprisingly, the woodwinds were featured prominently. But he also made extensive use of the guitars – something I was able to experience up close given my position behind them.
Overall, it was quite an experience to be part of and to hear this ensemble, which brought together so many familiar faces from the Bay Area new-music scene, and some new artists I had never met.
Here is the official list of musicians from the program. It includes some who were not there, and unfortunately misses a couple who were.
Composer, Director:
Vinny Golia
Saxophones:
Aaron Bennet, Beth Schenck, Collette McCaslin, Dan Plonsey, David Slusser, Henry Juntz, Isaac Narell, John Vaughn, Jon Raskin, Joseph Nobel, Josh Allen, Joshua Marshall, Kersti Abrams, Phillip Greenlief, Rent Romus, Steve Adams, Tom Weeks.
Woodwinds:
Frances Rodriguez, Jaroba, Michelle Hardy, Phillip Gelb, Rachel Condry, Tom Bickley
Brass:
Ben Zucker, George Moore, Heikki Koskinen, Ron Heglin
Drums & Percussion:
Aaron Levin, Donald Robinson, Jason Levis, Jordon Glenn, Mark Pino, Tim DeCillis, Vijay Anderson, William Winant
Strings and Basses:
Henry Kaiser, Kelley Kipperman, Matt Small, Neal Trembath, Steve Horowitz, Gabby Fluke-Mogul, Tara Flandreau, Shanna Sordahl
Guitars:
Alex Yeung, Amy Reed, Aaron-Rodni Rodriguez, Bill Wolter, John Finkbeiner, Leland Vendermeulen, Myles Boisen, Peter Whitehead, Robin Walsh, Roger Kim, Ross Hammond
Other Instruments:
Amanda Chaudhary, Andrew Jamieson, Andrew Joron, Bryan Day, Cheryl Leonard, David Samas, Derek Drudge, Gregory Scharpen, Jake Rodriguez, Philip Everett, Scott Looney, Soo-yeon Lyoh, Tania Chen, Thomas Dimuzio.

From revbutcher via Instagram.
Cats and Synth! Jamming with my best buddy after last nights dinner…also look at that damn patch..
As another commenter said, this picture made our hearts melt. Sharing time and music in the studio with our beloved cats is precious. đź’•

Luna had her monthly check-up yesterday, and the news wasn’t good. The cancer is continuing to spread. Slowly, but nonetheless spreading, including internally. As a result, I made the decision to stop the chemo. It clearly isn’t having the effect that we wanted, and it is making her miserable. It’s tough to decide to suspend treatment, but it seems like the best decision for her.
Indeed, in the short term she will probably feel much better. And that has been born out by her more lively behavior in the past 24 hours. I even caught her running around and exploring like a kitten this morning; and she has gone back to her delightfully diva behavior of demanding her favorite foods and attention from me. She does, however, lose stamina more quickly and needs to rest a lot.

Regular readers know I love Luna very much, and have tried to do the best for her I can. And now it seems the best is to keep her happy and comfortable and enjoy our time together. And of course spoil her rotten. She will get lots of love, attention, comfort, and the tastiest foods.
I neither believe in nor seek miracles, so our request for purrs and thoughts is to join us enjoying the time we will have together.
Today we look at the third night of the San Francisco Electronic Music Festival (SFEMF), which took place on September 10 at the Brava Theater in San Francisco.
The evening opened with a set by Alessandro Bosetti, who performs with spoken-word vocals and electronics.

[Photo by Pamela Z]
His texts are not traditionally lyrical, indeed they can be awkward or even absurd at times, or parts of imperfect translations. But he challenges himself and the audience to find the musicality within them. Most of what the audience hears are that result from the live electronic processing. The language remains audible, but it is transformed in a complex mixture of inharmonicity, noise and other types of musical sound. The performance was intense – and must have been physically exhausting for Bosetti, who is known for his work on radio.
While Bosetti’s set was intense and frenetic, Thea Farhadian’s performance was something altogether different. She performed a set featuring violin and live electronics.

[Photo by Pamela Z]
Without straying into too-conventional territory, Farhadian’s sounds were lyrical and haunting. The harmonic qualities of violin were of course featured, but also the percussive sounds, which when combined with the electronic processing created rhythm and motion to the piece. Although there was no visual element other than the performer herself, the music had a visual quality, with long curving lines like brush strokes with thick paint punctuated by dots.
The final performance featured Arcane Device (aka David Lee Myers) on modular synthesizer with live generated visuals.

He is known his creation of music from feedback and other noise sources, and so we were expecting a noise-centered performance. And we weren’t disappointed. But it was really the visuals that made this experience unique. The output of the synthesizer was fed into a special two-dimensional oscilloscope that was projected behind the performer. At first it was small, squished round elements as the sound started simply, but quickly grew complex creating chaotic textures that matched the sound. This was indeed a fun set to both watch and hear.
Overall it was a good night for this year’s SFEMF. And it was well attended. Other obligations kept we away from nights 2 and 4 this year, but I am looking forward to the festival’s return next year.

Cat posing with a Moogerfooger and sundry pedals. From tristanlouthrobin on Instagram.
“You shall not (low) pass (filter).” #catsynth