Weekend Cat Blogging with Sam Sam: At Rest

It’s been a stressful few weeks for us at CatSynth.  Not bad per se, just stressful.  During times like this, I often lie down to reduce psychic entropy and practice disintegration of thought.  And Sam Sam is often lying down next to me.

Sam Sam Curled up to sleep

Like most cats, Sam Sam is quite good at napping.  One might even say she is an “expert sleeper”, but that might cause confusion with one of the modular-synth manufacturers we sometimes feature.  She does have her own unique way of curling up, though, pull her tail close to her head and sometimes even grabbing it with her paw.  It’s adorable, and it never fails to make me smile.

Sam Sam holding her tail

She enjoys the soft blankets, either the burgundy or gray.  But she almost always chooses the same corner of the bed.  This is not surprising, as all of us at CatSynth are creatures of habit.

We hope you all have a relaxing and enjoyable weekend.  For us, it will be a bit stressful once again, but with very focused study and practice on both the technological and musical fronts.  But I will do my best to keep Sam Sam’s example in mind as I work through it.  We can learn much from our cats!

 

UnPopular Electronics (Robair + Djll), Lx Rudis, Franck Martin at Robotspeak

It’s been a little while since we last attended Church of Thee Super Serge at Robotspeak in San Francisco, but we made a point of going this past weekend.  For those who have not been there or read our past reviews, it’s an almost-ever-month show on a Saturday afternoon with live hardware-synthesizer performances.  As the name suggests, some acts do include Serge synthesizers, but it is not required, and a wide variety of instruments are used.  All three sets are featured in our most recent CatSynth TV episode.

The first set featured Lx Rudis performing on an Oberheim Xpander, a somewhat underappreciated instrument from the 1980s.

Lx Rudis on Oberheim Xpander

At its heart, the Xpander is a 6 voice analog synthesizer, but with a complex array of digital controls that can be programmed and applied independently to each voice.  Lx Rudis took full advantage of these, especially the LFOs and lag generators, to create subtle and minimal metric patterns.  He constantly moved voices in and out, configuring them on the fly, in a way that was very expressive and musical.  I particularly liked the sections which had staccato rhythmic textures against slowly moving timbres deliberately out of sync with one another.

Next up was Franck Martin, who performed a solo set on a modular synthesizer with several standalone instruments.

Franck Martin

Martin’s setup included a Moog Subharmonicon, which he built while attending Moogfest this year (we at CatSynth are a bit envious), as well as a DFAM (Drummer From Another Mother).  There were also additional voices provided by Braids and Plaits modules from Mutable Instruments that he could bring in and out using a touch-plate interface.  The result was a slowly changing beat pattern with an eerie inharmonic voicing and gentle undulation.

The final set featured our friends Gino Robair and Tom Djll teaming up as the brilliantly named Unpopular Electronics.

They had a wide variety of gear, including Serge panels in addition to Eurorack modules and standalone instruments from Bugbrand and others.  In addition, Gino had an interesting small case that included touchpads.

The music was frenetic and intense, an avalanche of pops and hits and loud cloudlike tone clusters.  And there were trumpet sounds entering into the mix at various points.  But there was an exquisite detail to the madness with changes among the different instruments and sounds, and musical pauses and rests before the pair dived back into the frenzy.  There were also many moments of humor and not just Djll’s book about why there aren’t any Zeppelin-style airships in the United States.

In between sets, it’s fun to browse around Robotspeak and see what’s for sale, or on display in the big glass case.

It’s also quite dangerous, as I am often tempted to leave with another module or instrument.  On this occasion, I exercised restraint, but probably not next time…

CatSynth Video: Cat rings service bell to make dark ambient music with a modular synthesizer

Cat rings a service bell to that is fed into an audio signal chain as part of this ambient electronic composition.

By Andor Polgar on YouTube, via matrixsynth.

The signal path: Poes rings the service Bell for food, the microphone picks up the sound, which then goes through a stereo volume pedal (it’s for attenuating the chewing sounds). Make Noise Maths is used as an envelope follower, which controls the sound of the Erica Synth Black Wavetable Oscillator.

https://instagram.com/_andormade
http://andor.cool

We at CatSynth absolutely adore this video and feline performance.  And we are thinking about ways to get Sam Sam into a live synthesizer performance 😸

Luna’s 13th Gotcha Day (in memoriam)

June 10 was Luna’s Gotcha Day.  For many years, it was one of the most joyous days of the calendar.  Since her passing in 2016, it has been challenging and melancholy. There is rarely a day when I don’t think about my special little girl and soulmate of almost 12 years.

Grief is a nonlinear process. The memories of her life, and of her loss, have mostly been integrated.  I can casually see pictures on a regular basis of her and remain in the moment, but scrolling back through them in a deliberate process this morning brings some tears.  CatSynth HQ is very much Sam Sam’s now, and we respect her territory (and spoil her rotten while doing so).  Yet even she sometimes seems to sense a presence of a former kitty in some of the corners and crevices that defy cleaning.

There is so much I miss about Luna.  Her beauty and elegance, her shy but sweet nature.

And she was fiercely territorial, especially when it came to me.  She did not like to share, but she made me feel very loved.  She could sit patiently while I made weird sounds in the studio.  And despite being a “strictly indoor” cat, she loved going outside on the patio after we moved to San Francisco.

Regular readers know I am not at all religious.  And I don’t have a particular notion of an afterlife.  But I do like to sometimes think about Luna taking her place among those I have lost over the years, mostly human friends and family.  The visualization is of them all standing and waiting patiently, a little black cat in front of the much taller people.  I also take comfort in the Rainbow Bridge, and in the community of cat bloggers who have loved and lost over these many years.

I do not expect that the grief will ever disappear entirely.  And that’s ok.  We continue.

Forced Togetherness Fridays: Depression

With multiple suicides of noted figures making headlines this week, it is no surprise that depression, too, has been a major topic of discussion, both in the news and on social media.

First, let’s look at depression itself.  I am not a psychologist, nor a licensed professional of any sort when it comes to mental and emotional health.  I am, however, someone who has dealt with depression.  Mostly mild, but sometimes quite severe.  And it’s different from sadness.  Sadness is a rich feeling, albeit a deeply painful one at times.  Depression is a hole, an absence of feeling that can be very debilitating and frustrating.  Most of the time, it is just something that comes and goes periodically, like the tides, seasonal flooding, or the marine layer that often blankets San Francisco.  Sometimes it is the byproduct of prolonged stress, from a workplace, from relationships, or really anything.  When Luna was diagnosed with cancer, and when she later passed away, there was tremendous sadness and grief.  But the depression is separate from sadness, and in the case of Luna’s illness, it was from the stress and sometimes a sense of helplessness that came in between those events.

Another thing that can cause or exacerbate depression is a sense of being trapped.  This can be confinement to a physical space, but also mental or metaphoric.  The sense of being “trapped” in the wrong birth gender would be one example, as would being trapped in a bad relationship (a long time ago), or any number of negative workplace experiences over the years.  It can come from being trapped by others expectations, or fear of being judged and shamed for something as simple as deciding what to eat for lunch.  One can also feel trapped by negative emotions like sadness and the fact that our culture sanctions very few outlets for them outside of grief.

The most important thing, I have found, is to reduce the sense of feeling trapped.  Like reducing artificial barriers on a shoreline, it allows the emotions to ebb and flow more gradually and naturally, and not get caught up as easily in dangerous cycles.  That could be something small, like going out for a walk and getting fresh air, or deciding to leave a bad job.  It could be a good cry – I find adorable pictures of cats can be a good way of inducing a depression-cleansing cry.  But more often than not, the activity requires a fair amount of space and solitude.  Like a road trip, playing one of the synthesizers, or cuddling with my cat.

Well-intended inquiries and offers of company can actually have the opposite effect and can lead to feeling even more trapped, stressed, and depressed. In a sense, this is bringing a “forced togetherness” situation into the picture.  The best thing to do to help, outside of a genuine crisis situation, is to let people know you are there if needed, and then wait for your friend or loved one to take the lead.  Don’t assume, and don’t treat the depression as something that needs to be tamped out.  Do listen, because sometimes all a depressed person needs at the moment is to be heard and acknowledged, not to take action.  And let them tell you what they need: if it’s company,  help with a particular problem, or simply to be left alone and to feel free to be themselves and do what they wish without judgment.

Of course, none of this applies in a genuine crisis situation, where the immediate needs of the crisis take precedent.  While we sometimes have to make a call on whether a situation is a crisis, but handling it is often best left to professionals if possible.

The other caveat is that everything I have described is deeply individual and likely to be different for different people.  But that is the most important point.  Everyone is different and experiences depression differently.  And attempting to force the same solutions or advice can only make things worse.

Denny Denny Breakfast at the Luggage Store Gallery, San Francisco

A couple of weeks ago we saw a fun and intriguing performance by Denny Denny Breakfast at the Luggage Store Gallery in San Francisco.  It was the subject of a recent CatSynth TV.

Denny Denny Breakfast is an ensemble project led by Robert Woods-LaDue.  The personnel changes per event, but on this occasion, it included Sarah Dionne Woods-LaDue (dance),  Mark Clifford (vibraphone), Crystal Pascucci (cell0), Jordan Glenn (drums), David Young (keyboard), Max Judelson (upright bass), and Rent Romus (alto saxophone).  They had recorded an album together in December 2017 and the mix of improvisations and noted sections informed the live performance at the Luggage Store.

Several of the parts were improvised once again, but others were relatively fixed, including the final piece that was a note-for-note transcription of an improvisation from the recording sessions.  There was also a piece originally conceived while the group was playing in the Finnish Hall in Berkeley but did not make it onto the album.  It was a simple concept of repeated patterns slowly changing in speed between two groups of performs, creating a phase pattern in the acoustic space.  The Finnish Hall has very unique acoustics, and so does the third floor of the Luggage Store Gallery, making it an ideal location to recreate the piece.  Throughout there was a large variation in the music between pieces, ranging from melodic and theatrical to noisy and percussive, to minimal with large amounts of empty space.  Each of these styles and textures left room for the dancers Sarah and Robert Woods-LaDue to be front and center.

We were happy to have been introduced to Woods-LaDue’s work, and are enjoying his recordings as well.  There is a wide variation in style among the different albums, but that will be a topic for another review in the not-too-distant future.

CatSynth Video: Mr. Maximillion in “Look Out Noise”

A new video from our friends Charles Whiley and Mr. Maximillion.

“Look Out Noise”
🎼🎶🎚🎛🎚🎛🔊🎧🎹
💖🤩😼🔊🔊🔊💖😻😺

We espy quite a few of the usual suspects, including their Novation Peak, JoMoX Alpha Base, Source Audio Nemesis, and Oberheim Matrix 1000.  This time I also notice a JoMoX Moonwind, a T.C. Electronics rackmount effects box, and more.  What gear did you notice in the video?