CATSYNTH

cats synthesizers music art opinion

Category: Music

  • Warped Cannon

    Courtesy of fellow experimental musician Gino Robair, we have the “Warped Cannon” page, which features the Pachelbel's Canon in a wide variety of tunings. The MIDI files on the site present the canon performed not in variants of the traditional just and equal-tempered scales, but several rather odd tunings as well. Of particular interest to me was the the Bohlen-Pierce variation, using the Bohlen-Pierce tuning that I have discussed in previous posts. While some readers/listeners may find this variation a little difficult to listen to, and even disturbing when contrasted with the original, I actually find it quite inspiring. I am always interested to hear pieces done in this tuning ahead any future BP compositions of my own.






  • New Podcast

    Today's podcast release looks to the past. My performance two years ago at the Live Looping Festival in Santa Cruz received a lot of positive feedback from other musicians and audience members,, and it's one of my favorites. But it is largely overlooked by most visitors to my website. I encourage readers and listeners to check it out.

    The performance was realized almost exclusively using Open Sound World, with a little backup from the Proteus 2000.



  • Gift ideas from CatSynth

    Looking for a great holiday gift for that music lover, techno geek and/or pretentious hipster/snob in your life? Why not give them a copy of Aquatic?

    If CD's are too old school, you and always gift tracks via iTunes or consider a subscription to emusic, truly the gift that keeps on giving.

    Proportional Fish kinda sounds like holiday music, right?






  • New Podcast: Fun w/ Emulator X and freesound.org harmonica samples

    I spent a little time yesterday experimenting with modulated loop selection in Emulator X on a variety of sounds. One sound set that I particularly enjoyed playing was a set of blues harmonica samples at freesound created by TexasMusicForge. For those who are not familiar with the freesound project, it is a great collection of user-submitted samples licensed via the Creative Commons. Anyhow, I created a new EX instrument based on these samples and added multiple loops to a couple of them (actually up to 60 loops in one of the samples!), modulated with random LFOs. The result was quite playable – you can hear an example on the podcast. I would ultimately like to create a full composition with this instrument by refining this improvisation and combining it with other elements. It's not a sound I have used very much in the past, so I'm interested to see what I can do with it.







  • Summary of New Orleans / ICMC articles

    Here is a list of all the New Orleans and ICMC articles in chronological order. New readers are encouraged to use this list as a starting point. Enjoy!


    Weekend in New Orleans Part 1: Zip visits the French Quarter
    Weekend in New Orleans Part 2: City views and Scultpure Garden
    ICMC late concert on election night
    Preparing for tomorrow's radio performance and more ICMC
    After radio performance
    NOLA Night Life
    Weekend Cat Blogging #75: Cats of New Orleans
    The Other New Orleans


  • NOLA Night Life

    In addition to the late-night events at the conference, I made of exploring other aspects of New Orleans’ famed night-time culture.

    While the French Quarter at night is a rather unique experience, there’s only so much one can take of endless streams of loud, drunk tourists. One of the concerns after Katrina is that this would become the only story in New Orleans. There are, however, good opportunities to hear local music at small venues outside the tourist district.


    One neighborhood that stood out was the Fauborg Marigny district. This is small triangle area to the east of the French Quarter, a lot funkier, with a feel more like a trendy “up-and-coming” neighborhood in New York or San Francisco. It seems to be the main hangout for the local crowd as well as local musicians outside the standard tourist circuit. I kind of “adopted” this neighborhood for many of my evenings – in particular, I found myself at a club called The Spotted Cat several times. It’s a cozy place, with interesting artwork and decor, and what is often described as some of the “best local live jazz in New Orleans.”

    It’s a rather small operation, cash only – and it looks like their website “thespottedcat.com” is offline and (like more of New Orleans’ real estate) apparently in the hands of speculators. But it seems like a safe bet to just drop in a see who is playing. I heard quite a variety of music, a local character known as “Chaz Washboard” who played, not surprisingly, a washboard, but one augmented with a couple of resonant metal cans and a hotel bell. As someone interested in homemade and alternative instruments, this was a little bonus. The following night I heard an ad-hoc group playing jazz standards, but featuring a remarkable pedal-guitarist named “Dave” who could make his instrument sound like a “strummed piano.” The next band that night was a set of local jazz musicians doing an extended bebop jam – musica gratia musicae. One regular group, the New Orleans Jazz Vipers, plays old swing and popular jazz every Friday. I went with a couple of friends from the conference at the place was packed, spilling out into the sidewalk (where drinks are of course legal). This club was also a great place for socializing, and made friends with a few recent arrivals to the city.

    I did finally get a chance to visit the Circle Bar last night. This is also a funky little place for local music, in this case more rock than jazz, and in a lot of ways felt more like a New York club than something unique to New Orleans. But from a local perspective, one can see how this fits into the scene. It’s located away from the tourist areas at the edge the Arts/Warehouse district, not too far from the freeway. It’s even “cozier” than the Spotted Cat, with the main room being a “parlor” of sorts, with it’s notable feature the overhead “k&b” clock – I believe this was a hold-over from a previous club at the same location (?).

    I was keen to try the special of the night, Good Riddance Rummy (Baccardi and Coke), but opted for a nice safe Guiness as I was driving that night. The band playing was a local group called the Bipolaroids – straight ahead driving rock, with a bit of 60s British influence in chords and rhythm (e.g., triplets a la Penny Lane, flat seven chords, etc.) The keyboard player had a Minimoog along with a standard keyboard, but I could barely hear any of it with the band being as loud as they were.

    So in summary, one should go see the French Quarter at night at least once, but then explore elsehwere in the city for something more real. Spotted Cat gets my strong recommendation for jazz! Circle Bar is cool as well for a funky, alternative night with local musicians.







  • After radio performance

    It seems like the radio performance went well, and it was a good experience. In addition to my live performance of the Wooden Fish, we played two selections of the CD and I participated in an interview with regular WTUL electronic-music host Conner Richardson and guest-host-for-the-day Kristine Burns. The show actually took place outside in a courtyard, with our audio feed relayed to the studio via internet:

    A small number of people from the conference, as well as one or two other curious indviduals, did stop in the courtyard to watch for a bit.

    The setup and soundcheck went smoothly, and as can be seen below, the rig was nicely laid out:

    Thanks to Kathryn Hobgood of Tulane University Communications for these photos.

    Overall, I was fairly happy with the live performance, nothing went particularly wrong, and Conner noted it was quite an unusual piece. The interview, conducted mostly by Kristine Burns, focused on the pieces themselves, both the musical ideas behind them and the technology used to realize them – of course we talked about the CD – also about my musical background, including my having studied with Ruth Schonthal. Because the next participant was a no show, we had more time for both discussion and music.

    Hopefully I will get a recording of the event, and if so will make a link available here.






  • Preparing for tomorrow's radio performance and more ICMC

    In order prepare for tomorrow’s performance on WTUL 91.5FM, I have set up a “compact” system here in a corner of the hotel room with laptop, audio interface, mic, small tablet and keyboard:

    The only thing I wasn’t able to get running simultaneously was the Evolver, which is only used for a small part of the performance – the problem was not enough nearby outlets.

    Performing live on radio presents some additional challenges because of the time constraints, constant sound-level requirements, and of course the fact than any flaws in the technology or my performance will be part of the broadcast and what everyone listening hears…and remembers. So I have been spending extra time preparing and practicing.

    Musicially, The Wooden Fish is not a difficult piece. Basically, it is a guided improvisation based on a few short rhythm patterns in 3/4 and a graphical score. The technologies for this performance are straight-forward as well. The initial delay/loop section and a tablet-controlled loop are programmed in OSW, and other variations of the patterns are done in Emulator X2, including one variation using the Twistaloop feature. Both applications are running simulataneously, allowing me to easily switch between at any given point. So far this seems to be working fine – I am just a little wary after a nasty crash at a performance a few weeks ago.

    I did take some time out of today’s preparations to return to the conference for the SEAMUS concert and Max Matthews’ keynote address. Matthews, who turns 80 next week, is considered the “father of computer music” and was received very warmly by everyone. While it is inspiring to hear from giants in one’s field, I couldn’t help feel a little demoralized during his relating of past accomplishments and interactions with others – it’s hard live up to those kind of standards, or even see how one could try given the way the computer-music community has evolved. But on balance, it was inspiring – at the very least I would like to explore some of the books and records he recommended. It was also great to see someone who at 80 can talk at length not only about theories and foundational work on mainframes, but also on the latest laptop technologies (like Mac core-duo) and sensor technologies for interactive music performance.

    I also found myself more aesthetically in tune with what the SEAMUS musicians were doing than many of the pieces from the ICMC.

    Those who are interested in turning in to the radio performance tomorrow can click here for the live internet stream.

  • ICMC late concert on election night

    Imagine yourself an ordinary New Orleans bus driver, doing your normal night route on St. Charles. Just two or three passengers, quiet. Maybe even a little quieter than usual given that many people are home watching election returns. Then suddenly you come to stop where twenty or so weird people with laptops and beeds get on the bus. That’s what happened to a bus driver last night when participants at the ICMC conference boarded to attend the offsite late-nite performance at the aptly named Columns Hotel.

    The election so far went as well as one could expect at 11PM, with headlines suggesting things are about to change for the better – a takeover of the House, Virginia is the new Florida (with George “macaca” Allen trailing), and social conservatives (i.e., the littering religious right) lost a trifecta on abortion, stem cells and gay marriage. Plus, I get to watch all of this from the home (and district) of William “Frozen Assets” Jefferson.

    So what better way to celebrate than with experimental electronic improv music in an old hotel parlor? First on the program was Pink Canoes, who hail from the Bay Area. I was acquainted with several members of the group by name only (and vice versa), so it was quite ironic to meet in person in New Orleans. Musically, they played free improvisation with guitars, effects pedals, analog synths and circuit-bend instruments, similar to some of the group improvisations I have done with friends in Santa Cruz. I get the sense that many of the academics at the conference hadn’t heard much of this sub-genre of electronic music. Personally I would like to see more hybridization among free electronic improv, traditional computer music, and even things like the jazz duo that was also playing in the hotel at the same time.

    Pink Canoe was followed by the due Andre Castro + Martin Aeserud, featuring laptop and “prepared” acoustic guitar. I found the guitar quite interesting to watch as well as listen to, and gives me some ideas for projects with the guitar that’s sitting in pieces on the floor back home.

    More on the conference later.





  • Weekend in New Orleans Part 1: Zip visits the French Quarter

    Before the start of the ICMC Conference today, I spent the weekend exploring a bit of New Orleans. Zip of course came along for the ride and photo ops.

    In this first article of several, we make the obligatory trip to the French Quarter. This area largely survived the devastation last year and was quick to reopen as the “adult Disneyland” that people associate with New Orleans. Just outside the quarter on Canal Street, damaged downtown buildings being repaired and closed businesses are a common sight – a little eerie in spots. but inside things have the appearance of being back to normal. The bars and restaurants are mostly open, music and neon lights are everywhere. Tourists are in abundance (perhaps not as many as before, I have no way to gauge this), and there were plenty of people and vendors around the major sites, such as Jackson square and the cathedral(?) of St. Louis:

    Churches are fine, but there are also monuments a plenty to one of the town’s real religions: jazz. Here Zip poses with famed jazz clarinetist Pete Fountain:

    We also took in some live jazz at the New Orleans Jazz national park in the French Market along the rivier:

    The famed architecture of the quarter is exactly as one would expect:

    Again, most places seem to have weathered the storm or been repaired quickly, and many that are not hotels or business are up for sale as condos. There are still plenty of signs of the last year’s events, such as ubiquitous blue dog, here decked out for Mardi Gras (or pretty much any day here, it seems):

    A few pleasant breaks from the stereotypical tourist fare could be found in some of the small specialty shops sprinkled throughout the neighborhood, including a rather intruiging shop dealing in occult products, including “black cat fur.” No cats were harmed in the collection of this fur, one hopes… Also some craft stores, a modern art gallery that didn’t give in to insipid tourist tastes, and a cool little shop that used the mason’s “Pyramonster” as it’s logo.

    Another welcome addition to the day was a performance art troupe Wild Animus, who performed part of their piece on the riverfront near Jackson Square:

    Apparently, the artists responsible are part of a San Francisco art collective, go figure. Several performers were handing out free DVDs, which I have yet to review, but I am curious about this work.

    There was a particularly surreal moment as a wedding processing, complete with Dixieland-style band crossed paths with Wild Animus. I have a little bit of that on a video, which I will post as soon as I get a chance.

    Having had enough of the French Quarter, I went in search of what is apparently one of post-hurricane New Orlean’s best kept secrets: where to get tour passes for the bus system. After several attempts, I finally found a tourist info agent who pointed me in the direction of a kiosk in one of the shopping centers, but when I got there I was met only with a sign that said “Back 30 minutes after the hour.” I believe it was about 2:45 at this time. A little annoyed, I headed back to Canal Street anyway to catch a streetcar (and pay full fare) towards the city park, where the city’s main art museum and sculpture garden is located. Of course, the streetcar would be out of order when I got there, and the busses running in its place were nowhere to be seen. The changes of making it out to the park before the garden closed to visitors at 4pm seemed pretty slim. But instead of stewing in my frustration, I headed with Zip back into the quarter for a more local kind of stew and a local brew:

    This is definitely following the traveler’s rule “When in Rome…” In addition to gumbo, we sampled some of the ever popular oysters, cooked in this case:

    And with this, the first of many tasty meals and refreshing beverages to come (too many?), we conclude this part of the story.

    Be nice or leave.