Weekend Cat Blogging #268

I had no idea what to post for Weekend Cat Blogging (I have been so focused on the performances, rehearsals and other goings on).  But while sitting on the patio this morning, I saw Luna looking up at something, and managed to get a few good pictures.  Here is one.  It is definitely worth doing the “click to enlarge” thing:

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I have no idea what she was looking at.

Yesterday on a whim I tried out the HD video feature on my camera – this camera is for still photography, so the video feature was mostly coincidental – and caught a bit of Luna scampering about.  You can hear her give one little squeak early in the video.

Behold the power of HD video to use up hundreds of megabytes of slightly shaky and blurry motion!  Also, as this an impromptu recording, the house is in the middle of normal daily use, with cat toys and the incongruous bright blue yoga mat spread out in our usually clean living room.  (Actually, the cat toys are usually scattered about.)

While on one of my long urban walks yesterday, I saw one of the mobile adoption stations set up by the San Francisco SPCA.  This one was along the Embarcadero, near the Gap company headquarters.  Lots of kittens, mostly curled up for an afternoon nap.  We certainly hope they find good homes.  The mobile adoption stations are out regularly in the summer, so if you’re in San Francisco downtown, check out their schedule and stop by.

Weekend Cat Blogging #268 is hosted by Nikita and Elvira (the new edition to their household) at Meowsings of an Opinionated Pussycat.

The Carnival of the Cats will be hosted tomorrow by Kashim, Othello and Salome.

And the Friday Ark is at the modulator.

Preparing for tonight’s performance

This week has all been about the Outsound Summit, either attending programs or rehearsals, including two rehearsals for Reconnaissance Fly and one for the Cornelius Cardew Choir.

For Reconnaissance Fly, We now have our full Flower Futures set:

1. Small Chinese Gong
2. One Should Never
3. Neat As Wax
4. Emir Scamp Budge
5. Seemed to be Divided in Twain
6. Electric Rock Like a Cat
7. Sanse is Credenza
8. Oh! Goldfinch cage
9. An Empty Rectangle

There is actually a tenth movement, but we had to leave it out of this performance for timing reasons. One of the pieces, “Electric Rock Like a Cat”, was first premiered on KFJC last weekend. And three others are brand new that we only read and rehearsed in the past week. This included a final rehearsal last night. Sadly, it means I was not able to attend last night’s performance, but the extra rehearsal time paid off and I think we are going to play a great set tonight!

Technologically, things are relatively simple compared to the solo shows like the Quickening Moon Concert. I will primarily be using a Nord Stage keyboard for classic Fender Rhodes and organ models and acoustic piano, with support from the Korg Kaoss pad on several pieces and a loop/sample playback application on the iPhone. Tim Walters will be using SuperCollider for signal processing alongside bass guitar. Moe! Staiano will probably have toy instruments along with his drum set. We don’t have any live processing of Polly Moller’s flute or vocals in this particular set. I like the way our music has evolved to require less feats of technology and more musicianship.

For the Cardew Choir, I will be performing the role of “Universal Time” in Polly Moller’s Genesis using a combination of “space like” and “drum like” patches on the DSI Evolver. Other than that, the set is all vocals.

For those in the Bay Area who would like to attend, the show is 8PM at the Community Music Center, 544 Capp Street in San Francisco. You can get full schedule and ticking info here.

Outsound Music Summit: Blurred Lines

Last night was the first full concert of the Outsound Music Summit. “Blurred Lines” focused on the combination of music and visual media, i.e. film and video.  The pieces were more of a collaboration between film and music rather than one serving the other per se, although in each case the music making and film/video making were done independently .

The first half of the concert featured films by Martha Colburn with live piano improvisation by “local Bay Area pianist impresario” Thollem McDonas. Colburn’s films employ stop animation with original artwork and found images, as well as found footage. The overall look reminded me of Terry Gilliam’s animations (e.g., from Monty Python), though the material was generally much darker. Several of the films dealt with death and violence, particularly in U.S. history and current events. Destiny Manifesto in particular juxtaposed images of western settlers in conflict with Native Americans alongside contemporary looking soldiers and scenes that could have been from the Middle East or Central Asia. Images of people being killed and dismembered abound in these films. Other films, such as Meet Me in Witchita with its images inspired by the Wizard of Oz, but here again things turned dark with Osama Bin Laden’s head superimposed on the Wicked Witch and then being killed and collapsing in a mess of bloody body parts. There were lighter images in some of the films, such as figures that seemed influenced by South Asian shadow puppets and even abstract graphic squares reminiscent of a disco dance floor.

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McDonas’ piano veered between more classical or film-score inspired music and more percussive prepared piano. The music did not follow each film structurally per se (i.e., in the manner of a film score), but did evolve over time and present a particular character in each film. Initially, it started off lighter with fast runs and anxious chords, later on being more percussive and employing prepared piano or plucked strings. As the set progressed, the piano music became dense and darker, with large clusters of fast patterns and arpeggios in lower registers, every so often punctuated by more percussive and plucked elements. Overall the music had an aggressive feel which both showed of McDonas’ piano skills and fit with the violent nature of the films.

The second half of the program featured the 2009 60×60 international compilation. This is a set of 60 one-minute compositions that were selected and ordered into a continuous hour-long performance. For this program, each piece was set to a one-minute video) by Patrick Liddel. I had actually heard the 2009 60×60 compilation before (without the videos) at the Long Night’s Moon Concert last December, and recognized several of the pieces from that performance. Many of the videos were abstract graphics, such as the pixelated images that accompanied the opening pieces by Halsey Burgund and Matthew Dotson, or the abstract kaleidoscopic images set to Polly Moller’s “Abdominal Cyclist Ultra”. Others had more representational images. #16 by Jane Wang featured toy piano and was set to footage of a toy piano being played.

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Some were less directly representational and more evocative of the music, such as the scenes from 1950s television commercials set to Gregory Yasinitsky’s jazz piece. Although it was far more abstract, I would put the constantly moving gray rectangles against Patrica Walsh’s electronica dance music in the same category.

Among my favorite of the combined video+music pieces were Brian Lindgren’s music set to a slowly moving film of a woman in a black dress in front of a brick wall; and Enrico Francioni’s sounds featuring strong resonance and feedback that were set to a beautiful film of forward motion in a dark industrial hallway. Also of note were Jay Batzner’s music (which reminded me of Xenakis) set to geometric views of industrial girders, perhaps power lines; and the intricate grid (along with spiders) set to Anton Killin’s metallic sounds.

Overall, with 60 sets of constantly changing visuals and music, and my attempt to take at least few notes on each, the experience became one of sensory overload. Looking back on the notes, it is interesting in looking at my previous review of the 2009 60×60 mix how different pieces stood out more in the mix without the visuals while others seemed more prominent in the music+visuals mix.

Outsound Music Summit: Touch The Gear Expo

Once again, the Outsound Music Summit opened with Touch The Gear Night this past Sunday, in which the public is invited to come and, well, “touch the gear” and interact directly with many of the festival artists who use technology in their music. “Technology” included software, electronic devices, DIY projects, and mechanical and sculptural instruments.

I attempted to both cover the event for CatSynth and demo some of my own gear, which made for a hectic but fun evening. I kept my demonstration relatively minimal, with my Monome 8×8, the Korg Kaoss Pad and the Dave Smith Evolver:

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Basically, this was a subset of the gear I used at the Quickening Moon Concert (which was part of Outsound’s regular Thursday series at the Luggage Store Gallery). The monome was driving a simple software synthesizer, which along with the Evolver was being processed by the Kaos pad. The monome in particular attracted a lot of attention with its clean geometry and texture, and mysterious nature. It’s just an array of lighting buttons with no marking whatsoever, which invites curiosity.

Travis Johns brought a highly portable version of his worms in compost, this time attached to an analog ring modulator and open-source software the implements Slow Scan Television.

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One could hear the noise generated by the worms (which was a low-level rumbling static sound) and see the corresponding image generated by the SSTV software projected onto a screen.

Walter Funk presented a variety of instruments and objects, including Phoenix, a metal music object created by Fred the Spaceman. It was attached via contacts to an effect processor and a speaker, and could be struck or shaken to produce a variety of sounds.

[click images to enlarge]

He also had an old Realistic (remember that brand?) variable-speed tape recorder that included a bucket-brigade (BBD) chip which could be used for a variety of pitch and time shift effects. It would be interesting to modify the unit to take live input in addition to recorded tape input, although the use of tape is part of the charm of such a device. Additionally, he had a small custom analog synthesizer made from inexpensive breadboards made by Elemco that were originally designed for test equipment.

Tom Duff demonstrated the Sound Labs Mini-Synth, a DIY synthesizer kit designed by Ray Wilson. It’s a basic subtractive analog synthesizer, a la a Minimoog. More intriguing were the two generations of Bleep Labs Thingamagoop and Thingamagoop 2. The Thingamagoop 2 includes the photocell-and-light control and analog sound-generation from the original, plus an Arduino for digital sound and control. I want one of these! It was also fun to put the two generations of Thingamagoops together to control one another.

Cheryl Leonard brought some musical objects from Antarctica, including flat stones, bones and limpet shells. The stones had a high but short sound when struck or rubbed against one another. These were used in her Antarctica: Music from the Ice project.

The limpet shells had a resonant sound with well defined pitches. I found myself playing a subset of three shells that together produced an interesting set of harmonies and intervals.

Bob Marsh demonstrated Silver Park, a beautiful instrument that started as a proposal for a park in Detroit with metal sculptures and structures.

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Marsh sometimes performs with Silver Park as part of his Mr. Mercury project. The instrument version features springs in addition to the original metal objects, which add to its timbre. In a quiet room (unlike the room we were in) it can be played acoustically, but it can also be played with microphones and electronic effects. Whenever I see pieces like this, I am inspired to create one of my own, but also reminded how much work it is to create sculptures with metal, adhesives, etc. I did get some tips on some “baby steps” to work with similar sounds without necessarily committing to a sculptural artifact.

Another visually powerful instrument was Dan Ake’s 12×13, a large box with 1/4″ metal rods and washers. When the box is spun, the washers slide and shake along the rods producing a metallic cacophony of sound and visual motion.

By spinning the box, or leaving it tilted at various angles, one can get the full effect of the falling washers, or freeze them in mid-fall to cut off the sound.

Philip Evert performed with an auto-harp processed by a large series of effects boxes. The control and sound of the effects chain was largely indeterminate, though the demo that I heard began with ring modulation before becoming a more complex mix.

Tom Nunn brought his Skatchboxes for visitors to try out. Here were see T.D. Skatchit demonstrating the main Skatchbox.

[click to enlarge]

He is a virtuoso on this instrument, and we have reviewed his collaborations with Nunn in previous performances.  The Outsound Summit included a demonstration and class on building your own Skatchbox, which sadly I was not able to attend.

Mark Soden (of phog masheeen) demonstrated a chain of effects processors including a Electrix Filter Queen that produced chaotic oscillations when driven with an appropriate sound source. He had a Roland SP-555 to drive the effects, but the more interesting demo was using a trumpet with contact microphones on its body. One could generate sound by blowing, tapping, or otherwise exciting the body of the trumpet which then drove the chaotic effects processing.

Amy X Neuburg demonstrated the two instruments I have seen her use in her live sets. The Blippo Box produces chaotic signals that are compelling and very easy to play – the effect of turning knobs on the sound, even if it was unpredictable, was very smooth. Of course, the challenge is that the instrument is so chaotic that is very difficult to reproduce the same exact sound twice. She also showed her looping setup, which included a drum pad and an Echoplex.

Rick Walker demonstrated his new “Walker Manual Glitch pedal”. It featured both built-in sound generators and live input, and the ability to “glitch” or reply snippets of sound from any of the sources. This seems like it will be a powerful instrument, especially when combined with loops as input or a live improvised performance.

Thanks to Matt Davignon for organizing this event!  He was also a presenter and showed off his drum machines and effects boxes that he has used in many previous live shows.

CatSynth 4th Anniversary

Another year has past since we started this site four years ago.  Thanks to everyone who already wished us a happy anniversary, and to the folks at the Cat Blogosphere for their shout-out today.

And just as we have with previous anniversaries, we are celebrating with statistics of questionable import.

Over the past four years, we have written 1220 posts, and readers have contributed 6699 comments.  We have received 293,916 visits.  This comes out to about 5.5 comments per post, and about 43 visits for every one comment left.  We also have about 270 “catsynth pic” or “catsynth video” posts.  Make of these numbers what you will.

In terms of tags and categories, there are not really any surprises.  These top terms do reflect what the site continues to be about:

Cats (cat) 704
Synthesizers 449
Luna 277
Music 246
Art 190
weekend cat blogging 183
WCB 181
San Francisco 160
Personal 153
News 151
Wordless Wednesday 147
Reviews 134
Photography 132
Modernism 91
Highways 82
Art 74
analog 74
video 74
cats on tuesday 70
electronic music 62
synth 62
performance 55
carnival of the cats 45
Travel 45
black cat 44

We now turn to stats specific to the past year.  The top five days for visits since July 19, 2009 are:

November 6, 2009 1036
April 18, 2010 859
May 11, 2010 808
October 15, 2009 787
March 22, 2010 780

Hmm, November 6, 2009.  Who knew our post on Reconnaissance Fly and Noertker’s Moxie at the SIMM Series would get so much attention 🙂

The posts that received the most comments over the past year:

Wordless Wednesday: Morning Sunshine 36
Wordless Wednesday: Cooper River Bridge, South Carolina 32
Wordless Wednesday:  High Line 32
Dona Nobis Pacem: Blogblast for Peace! 31
Wordless Wednesday: Asians.com 28
Wordless Wednesday:  Bay Bridge from Pier 14 25
Wordless Wednesday: Yan’an Elevated Road, Shanghai 25
Wordless Wednesday:  Before Winter 24
Wordless Wednesday: 5946 (Vacant Lot, California) 24
Wordless Wednesday:  Three Circles 23
Wordless Wednesday: Coffee Cup on the Patio 23

And the top commenters over the past year:

kitty 203
Mickey 143
CatSynth 96
Gattina 75
SandyCarlson 51
Sukhmandir Kaur 50
Robin from Israel 38
Beth @ 990 Square 37
Katz (And Other) Tales 32
cindy 31
AVCr8teur 30
jams o donnell 47
Carver 26
Sniffie and the Florida Furkids 23
Beth F 23
Cats of Wildcat Woods 22
Ms. Latina 20
Snowcatcher 19
Digital Flower 18
Susan Adcox 18
Cafe Au Lait 17
The Chair Speaks 16
Harry Spotter 16
Jewelgirls Katz 15
Judi 15
Nikita Cat 15
jason 12

These are the stats that change the most from year to year, as we welcome new readers and others fade away for any number of reasons.  One interesting thing to note is our two top commenters (who have retained those spots for the last two years running) are both from Canada.

Our Facebook page gives us a new source of questionable stats to reflect upon.  We have received  about 30 contributions (pictures or videos).  The city with the most declared CatSynth fans is New York.  The countries with the most fans (after the United States) are Canada, the United Kingdom, and Finland.  These are all plausible, but I am a bit skeptical of Facebook’s data gathering and presentation tools.

Thanks to everyone who has read and supported us, wherever you happen to be, and we’ll look forward to more over the next year…

Weekend Cat Blogging #267

Between the Outsound Festival and other things going on here at CatSynth, we barely had time to squeeze in Weekend Cat Blogging.

I returned home briefly last night between various events to rest for a moment and of course to spend a few minutes Luna. With camera already in hand and made a few photos of Luna near our favorite glass-and-metal table. It caught a bit of blue in the reflection, and inspired me to make this image with everything but the blue reduced to grayscale:

Later that evening, I encountered some feline themed art:

This is a moment from a 3D film/video by Kerry Laitala that was screened last night at SOMArts. I did not see the kitten featured on the exhibition website, though. I will have a review of the full event at SOMArts soon.

Aside from brief excursions in photography and visual art, the last few days have been dominated by music.  For each of the groups I am working with, wehave compositions that we print on paper and then read during rehearsals and performances. It is a lot of work.

But is sheet music tasty?

On the subject of tasty treats, our friends Kashim, Othello, Salome and Astrid are hosting special edition of WCB dedicated to Sher, who passed away unexpectedly two years ago. In addition to being a dedicated and supportive member of Weekend Cat Blogging, she was also a food blogger who published many recipes which I have used over the last few years. We will go back to the archives and try some more as soon as things calm down a bit and we have time for luxuries like well-prepared home-cooked meals.

Weekend Cat Blogging #267: In honor of Sher is hosted by Kashim, Othello, Salome and Astrid at PaulChens Foodblog?!.

The Carnival of the Cats will be up today at When Cats Attack!.

And the Friday Ark is at the modulator

CatSynth at the Outsound Music Summit

Starting tomorrow, and throughout next week, I will be involved in the Outsound Music Summit here in San Francisco. In addition to participating as a performing artist, CatSynth is an official community media sponsor of the festival! I will attending (almost) all of the events, providing some live updates via Twitter, and of course more detailed reviews here on the blog. For those who wish to follow along, you can join us on Twitter @CatSynth, or subscribe to our feed, or simply check back in to the site periodically.

Please visit the Outsound Music Summit site for more info. You can find a detailed schedule of all the programs, and ticketing information for those who will be in the Bay Area next week.

In terms of participating in the events themselves, I will be at the Touch the Gear Expo on Sunday. I am not yet sure the exact list of gear I will present, but it will almost certainly include the Monome, the Kaoss Pad and the Evolver.

On Saturday (that’s tomorrow), I will be performing with Reconnaissance Fly live on KFJC Radio. The performance is listed as 4PM U.S. Pacific Time, and is available online.

Finally, on Friday, July 23, I will be performing at the summit, both with Reconnaissance Fly and the Cornelius Cardew Choir.

Polly Moller’s collected and adapted spoetry texts form the basis for a new “spong cycle” — a song cycle based on spoetry. Entitled “Flower Futures”, this otherworldly ten-movement work shifts constantly in imagery and sound. Movements feature free improvisation, graphic scores, and full scored music, each with a spoem as its basis. Reconnaissance Fly, consisting of Moller plus Amar Chaudhary (keyboards and electronics) and Tim Walters (bass guitar and electronics) will perform “Flower Futures” along with special guest concussionist Moe! Staiano.

The Cornelius Cardew Choir is a SF Bay Area-based vocal performance ensemble. Situated at the intersection of community & experimental music, these professional, amateur, & novice singers work collectively to turn ideas into sonic action. The Choir’s set will include “Genesis” for twelve improvisers by Polly Moller, with the composer herself portraying the New Universe.

It is going to be a busy week…