Music

Cat and Toy Piano photo

This one was submitted by both elba (who enjoys one of my favorite activites: not shopping at WalMart) as well as brrer:

A bengal with the “very analog” instrument: a classic Jaymar toy piano. My parents found one of these on someone's curbside several years ago – it's amazing what people throw out. When I tried it out, I immediately recognized it as the instrument used in recordings of John Cage's Suite for Toy Piano.

Thanks to everyone who has been submitting photos in the past week or so. I'm a little backlogged at the moment, but I will get to posting them all, among all the other articles I want to write for this forum.





New Podcast: Charmer:Firmament live at Woodstockhausen 2003

Well, my latest experiment with sampled piano was a flop, and a close friend and fellow crazy experimental musician is currently in my thoughts, so it seems a good time to release one of my live performances from the Woodstockhausen 2003 festival. In this case, it is a live version of Charmer:Firmament, a piece for digital computer controlled live by a graphics tablet. A recorded version of this piece also appears on my CD Aquatic (you know, the one that none of you are buying).

As always, enjoy!





(co)sine – LIVE – Luna's Cafe … and Mimì makes the rounds

From sendling we have this video of artist (co)sine. Great stuff, and it's at Luna's Cafe! How could I not repost.

Scrolling down one post earlier at sendling, we see a familiar face. Remember Mimì? Well, it seems that she's been making the rounds since her debut here at CatSynth, popping up at sendling and matrix. Go Mimì!









New Podcast Release: "Four Days"

A special treat for listeners of my podcast this Sunday! I am releasing a full-length (but lower fidelity) track from my RPM Challenge album, 2 1/2.

“Four Days” is a piece in the style of musique concrete, and fits into the overal narrative theme of the album 2 1/2. It has a really captivating and eerie quality, perhaps even a little spooky.

Enjoy!

(and please check out the current recordings available if you like it)






RPM finished!

Well, it's been a pretty intense few days finishing up the RPM challenge, but we made it! Finished recording on Feburary 27, did some very cursory mastering and CD artwork on Feburary 28, and today, March 1, assembled the finished goods:


The final title was indeed “2 1/2”, and the final track list was as follows:

01 Prologue – Jerry Gray (1951)
02 Fragments in Gray
03 Twista Dilemma
04 Trieste 116
05 Four Days
06 ghanaplasticity
07 microkitty
08 RPM Filler Track
09 pique
10 Happy Machine
11 Epilogue – Count Basie (1953)

Musically, it's a fairly mixed result, some tracks were exceptional, others need a fair amount of work, which I can do at my leisure outside of the RPM challenge. But it is still a fairly good result for what was really just 2 1/2 weeks of solid work amidst the various other dramas of this past February…

At 11:30 this morning, I mailed it out from the post office in Scotts Valley, California. And with this simple act, it is done.

You can read some more detail of the last week on my rpm blog. As for me, it is time to rest.




WCB and RPM collide this weekend

While the RPM challenge continues to dominate life here at CatSynth, there's always time for Weekend Cat Blogging. Indeed, Luna has been helping out quite a bit in the studio the past few days:



Take a break with us from the struggles of art to visit Kate, Bustopher and Harmon who are hosting Weekend Cat Blogging 90.









RPM update: Trieste 116

Yes, this is the second RPM post in a row, but the project has been dominating my outside-of-work life the last few days, at least the parts not taken up with eating, drinking, sleeping and playing with Luna.

Even though I didn't spend a huge amount of time this evening, I think I produced my best track to date, as I described earlier on my RPM blog:

Well, this is the first recording I have made for this project that felt truly inspired – even as I was working on it, I had the feeling “this is going to be really good.” So even if I never release the RPM album to the public as a whole, this piece will be released in some form no matter what.

It is called Trieste 116, and splices together an improvisation done with my favorite custom patch “116” on the DSI Evolver, with excerpts from a live recording of a jazz combo with pennywhistle at Cafe Trieste in San Francisco (yes, that's the famous Beatnik hangout). The Evolver patch features non-linear feedback and filtering only (i.e., no traditional oscillators), and has an unstable flute-like quality that I attempt to blend with the pennywhistle in the Cafe Trieste clips. It all works together, at least for me. Additionally, the track opens with a quiet recording of a Dixieland band, an element I wanted to use somewhere in the album as a New Orleans tribute.

The Cafe Trieste recording as well as the Dixieland band were obtained from the freesound project and released on the Creative Commons Sampling Plus 1.0 License.

Once again, a demo track is available to RPM participants (do any RPM participants read this forum?) via the Sample Engine, just look for “Amar” in the Author column. One can also get a pretty good idea by listening to the October 14, 2006 podcast, which also featured an improvisation using my Evolver patch “116.”

UPDATE: Trieste 116 is up on the front page of RPM today!

I also recommend checking out “Angie Fights Crime”, I had coincidentally looked at them yesterday, too.







RPM continues

I actually had a very productive day working on the RPM Challenge. I now have three “completed” tracks, one half-baked, and the prologue and epilogue tracks done. However, that is only about 12 minutes, one third of the required length (35 minutes). Here's a little from the latest RPM blog entry (and this one is relatively optimistic):

Well, it looks like I managed to finish another track for tonight, it's entitled “ghanaplasticity”, named for the demo on a hacked E-MU Morpheus that I used as the original source. I then imported the source into Emulator X2 and performed it using the keyboard to process the original in a variety of ways.

Compared to the previous tracks, this one was remarkably quick to produce, and quite a pleasure to create. It was more like a live performance. I can listen to the seemingly strange timbres and rhythms and intuitively find something to enjoy in it, much like I do in abstract visual art.

So this one feels right, while the more structured tracks feel half baked at this time, which is why things have dragged on this long. So the question becomes, do I give up on structure and composition in order to “get this thing done?”

Other RPM participants can hear the works in progress using the Sample Engine. Everyone else will have to wait until at least next podcast, which is probably this coming Sunday.








Nora, The Piano-Playing Cat

This wonderful video features Nora, the piano-playing cat. Not a synthesizer, but it is a keyboard instrument.

In addition to the simple cuteness of a cat playing piano, I actually found myself listening to music itself. Clearly a lot of major and minor seconds, mostly because they are easy to reach with a single paw, but there is also the strong repeating rhythm. And she seems remarkably consistent over multiple brief “performances.”

I recommend listening to Nora's music without observing the video, as I am now, and you will hear an interesting minimal atonal piece that stands on its own. Many detractors of atonal and free-rhythm music often argue that “their five-year old could do that” or even that their pet could do that, but perhaps the fact that it captures childlike and cat-like innocence is part of the charm such music.