Rosie with a blue Korg Electribe MX. (At least we think it’s Rosie. We’re pretty sure about the Electribe.) From our friend Karl Lee Avery via Facebook.
The Electribe family has undergone quite a few iterations, including the newer Electribe 2. I do like the blue-tinted models in particular.
Our pal Mister Kitty returns to the pages of CatSynth with his new RE-303 bass synthesizer.
The RE-303 is a replica of the infamous Roland TB-303. This one was assembled by Mister Kitty’s human, Prophei (aka Michael Dietel). We at CatSynth approve of their choice of the black case. Oh, and it sounds great, too.
As a replica, the circuit board and CPU are compatible with the original TB-303, which suggests the parts can be used to refurbish vintage instruments in addition to building new ones. You can read a bit more in this Synthopia article from 2015. Clearly, the statement about DIY kits turned out to be wrong, as evidenced by this article. You can find out more about the RE-303 and kits here.
Meanwhile, we wonder what Mister Kitty may have in store for us next…
Our first music report of the year features the final show we saw in 2017. Scott Amendola assembled a cast of seasoned improvisers for a concert at Slim’s in San Francisco that took us on quite a journey over two full-length sets. It was the subject of our last CatSynth TV.
As one can hear in the video, there were a variety of textures throughout the two sets. My favorites were the forceful rhythmic sections, some of which came at the very start of the performance. There were also quite a few “operatic” segments that featured the voice of Pamela Z, who was also manipulating samples through various electronic processes. Aurora Josephson’s vocals provided a counterpoint with different timbres and style.
The ensemble includes three electric guitars (Henry Kaiser, John Schott, and Fred Frith) and three percussionists (Jordan Glenn, Robert Lopez, William Winant). As we have often remarked, doubling and tripling of such powerful instruments can be treacherous, especially in an improvised setting. But it worked here, as everyone had a distinct sound, and the good sense to always listen and lay out when appropriate. In fact, to my ears the music, especially during the more operatic less rhythmic sections, was dominated by the concert string section, consisting of Christina Stanley and Alisa Rose on violin, Crystal Pascucci on cello, Zach Ostroff on string bass, and Soo-Yeon Lyuh on haegeum. At various points, Mark Clifford cut through the harmonies and timbres on the ensemble with frenetic solos on vibraphone.
The ensemble was rounded out with the wind section, which included the entire Rova Saxophone Quartet: Bruce Ackley, Larry Ochs, Steve Adams, and Jon Raskin. I felt like I didn’t hear as much of a distinct voice from the saxophones as I did from the other sections, but that was perhaps because they blended with the violins and cello.
In all, it was a fine night of music to wrap up the year. As we often do at Slim’s, we enjoyed the concert from the balcony over dinner and drinks, but we also had the chance to mingle with our many friends in the ensemble and the audience. We look forward to more music from everyone in their own projects in 2018.
The new year has brought plague and pestilence to CatSynth HQ, as I succumbed to the current vaccine-resistant strain of the flu. It’s been mostly bed rest since Wednesday, but fortunately, I have Sam Sam nearby.
She has been affectionate and attentive, more so than usual. I suspect that is also due to my having started working in an office again after being home with her for most of December. That’s a story for another time. In the meantime, we are enjoying one another’s company, even if I am low on energy and sometimes a bit delirious. Here is a closeup of her.
In a way, the illness and rest have extended the period of solitude and introspection from the last weeks of 2017, which I do not mind at all. It’s given me more time to think about the vague ideas and plans that I have for this year, though it postpones getting started on any execution. On the negative side, I had to cancel a gig today in Sacramento, extending what I call the “Sacramento Curse” where every planned show in that city since the beginning of 2014 has been missed for one reason or another (the first and most dramatic being one that was canceled due to a massive fire near the venue – fortunately, no one was hurt and the venue was fine afterwards). It has also slowed down activity that requires looking at screens for prolonged periods. I made an exception to get this post out.
Lying down and letting one’s mind wander with a slight fever does lead to interesting thoughts. A different experience from The Disintegration of Thought during periods of health, but interesting nonetheless. Some are complete nonsense, but others are consistent with introspection and what it takes to try and be happy and healthy in these challenging times. The roles of fear and caution are part of that internal dialog, as well as creativity in general. Perhaps I will have more to say about them as I return to health, perhaps not.
Leo the cat lays down some beats on a Korg Electribe. Submitted by @6bq9music via Twitter.
If you are on Twitter, please follow us at @catsynth. You can tweet us your cat-and-music pics as well as ideas for future articles.
Once again, it is time for our end-of-year collage and review. So many images to choose from in such a busy 2017 that took us in so many directions at once, both outward and inward.
At the end of 2016, I was still reeling from the loss of Luna and the election. But I did welcome Sam Sam into my life and also promised myself that I would prosper and thrive in the new terrifying Trump era. And we did, focusing on moving forward with the things from 2016 that did go well. Lots of new music as a solo performer, with my new band CDP, and with Vacuum Tree Head. There are now three CatSynth-branded apps for both iOS and Android, and a fourth on the way. We launched CatSynth TV, with 22 videos under our belt since October. And Sam Sam has blossomed into a sassy and thoroughly spoiled cat whom we love dearly.
If there is a word of caution on the personal and professional fronts, it is perhaps that 2017 was too much. After a strong first half of the year through July, I scaled back on live performance to focus on other priorities. I regret that, but it was also the reality of the many things going on. I wish the apps, blog, and video channels were progressing faster, but it’s as fast as we can go with our myriad other responsibilities. The last couple months, while still rich with experience, have been an exercise in paring back and trying to focus on the highest priorities; and also focus on health, self-care, and well being. These are all very challenging, but I’m grateful to have the help of loved ones.
We cannot ignore the fact that our rebound in 2017 after two difficult years took place amidst a dark pall over the country and world. Many friends have suffered amidst the monumental forces of hurricanes, flooding, fires, and human foolishness. The latter is most visible in the face of the current regime that continues to embarrass and threaten us. These are things we have to be vigilant about as we move in 2018. I do feel personally in the cross-hairs on multiple fronts, so I hope we can continue to survive and prosper as well as we did in 2017, and maybe at the end of 2018 we will look back and saw how the world became at least a slightly better place.
It is also interesting to look back to our end-of-year post from 2007, ten years ago. It was a dark, cold time amidst major life changes – I couldn’t have imagined then what life would be like now. Will we feel the same way in 2027? And will there still be a CatSynth then? Only time will tell…
Today we look back at the December show at the Starline Social Club featuring the Fred Frith Trio, IMA, and Watkins / Peacock. It was the subject of a recent episode of CatSynth TV.
In addition to giving a great interview, Zachary Watkins performed a great set with collaborator Ross Peacock, featuring a large array of electronic gear, with interesting rhythms, harmonies, and timbres throughout. The largely improvised set included several patterns and patches from Watkins as well as solo work by Peacock on a vintage Korg MS-20.
IMA, the duo of Nava Dunkelman and Jeanie Aprille Tang (aka Amma Ateria) provided a very different sound and style combining percussion and electronics.
The timbres of Nava Dunkelman’s percussion and Tang’s electronics complement each other, with the electronics weaving between the frequency ranges and timbres of the percussion. This worked especially well with the metallic sounds. Having played together as a unit for a while now, IMA’s improvised sounds have a tight structure and narrative quality.
Then it was time for the Fred Frith Trio to take the stage. In addition to Frith, the trio features Jason Hoopes on bass and Jordan Glenn on drums.
Like IMA, the trio locked in even in more free-form improvised sections to maintain a rhythmic and virtuosic quality. They have developed a musical language among the three of them that allows them to converse and also listen during “monologues”, like Frith’s solos or Hoopes’ dramatic bass patterns.
We had a great time at this show – the Starline is a good place to see live music. The stage lighting was almost a performer in its own right, constantly changing and adapting to the music. The fog could have been a bit lighter, though.
Our latest CatSynth TV is about…beer!
Specifically, I-87, a limited-edition American IPA made by Davidson Brothers Brewing Company in Glenn Falls, New York. Glenn Falls is a little north of Albany and just south of Lake George.
As we can see from this map, it is just east of Interstate 87, here the Adirondack Northway, so the name for the beer is not at all surprising. US 9 also goes through the town center, as does one of its myriad auxiliary routes, NY 9L, and NY 32 which like US 9 and I-87, follows the Hudson River.
As for the beer itself, it is definitely an IPA and has the characteristics one would expect, including the hoppy flavor. But it also had a bit of a sweet/caramel flavor as well. I’m by no means an official beer expert, but I quite liked it. I will have to drop by the brewery when I’m that far north in New York state again.
See more of Glenn Falls, New York and many other fine towns across North America in our Highway☆ app, available on the Apple App Store and Google Play Store.
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