Greetings, and happy third night of Hannukah! Today we look at the Soundtracks exhibition currently on display at the San Francisco Museum of Modern Art (SFMOMA) through the end of the year. It is also the subject of our most recent CatSynth TV episode.
The exhibition explores the intersection of sound, visualization, and space, and features over 20 artists. There are a variety of interpretations and methods of making sound, from acoustic to mechanical to electronic. None of the sound installations are overpowering, but many do arrest ones attention. Upon arriving at the 7th floor for the exhibition, one is created by Anri Sala’sMoth in B-Flat, which features a mechanically triggered snare drum hanging inverted from the ceiling.
[Anri Sala. Moth in B-Flat (2015_]
The electro-mechanical theme continues with O Grivo’sCantilena, which includes several motorized sound-making sculptures primary made of wood.
[O Grivo. Cantilena (2017)]
These were fun to watch, and I found myself wanting to make one myself (we shall see if that actually occurs).
Simplicity reigned in Céleste Boursier-Mougenot’sclinamen v.3. A large shallow pool of water contained floating ceramic bowls. The frequent collisions of the bowls created a music that was very captivating.
This piece was deeply calming, and I found myself zeroing in on groups of bowls as they collided and separated to form rhythms and harmonies.
Ambient soundscapes were also the heart of an installation by Brian Eno, New Urban Spaces Series #4: “Compact Forest Proposal,”, with a darker tone and more complex technology.
[Brian Eno.New Urban Spaces Series #4: “Compact Forest Proposal” (2001)]
One is free to wander the darkened space amidst the moving columns of LED lights. Every once in a while, the light increases and one gets glimpses of shadowy figures on the wall. The sounds ranged from small percussive synth hits to trumpets to electronic noise.
Electronic noise was also at the heart of Christina Kubisch’s installation Cloud. Kubish’s work explores sonification of data and electricity. The mass of red electrical wires emits electromagnetic radiation, which was interpreted as sound using customized headphone devices.
[Christina Kubisch. Cloud (2011/2017)]
Of all the installations, this was the among the most challenging to take in sensually or to document. I love the concept, and I think it really needs an extended period of time alone to experience fully.
From the large to the small. We had fun with Sphere Packing by Rafael Lozano-Hemmer, which featured several spherical speaker arrays made from those ubiquitous white Apple earbuds.
[Rafael Lozano-Hemmer. Sphere Packing (2013 and 2014)]
Each was playing a different selection of classical music from the 18th, 19th and 20th centuries, rearranged and diffused asynchronously through the speakers. Lozano-Hemmer also had an installation Last Breath that included a recording of breathing by the late Pauline Oliveros.
We conclude with another project visualized as a sphere. Lyota Yagi’sSound sphere featured a sphere wrapped in cassette tape that freely rotated and revolved. Customized pickups rendered the sound from the tape, which is chopped, looped and distorted based on the chaotic motion of the sphere.
[Lyota Yagi. Sound Sphere (2011)]
All of these pieces were inspiring for my own work, as I want to do more sound installation in the coming year. There were more in the main the exhibit and spread around the museum, but beyond what I can cover in this article. We do encourage you to check out our video to hear how some of these pieces sound. And if you are in the Bay Area, we strongly recommend checking the exhibition out before it closes on January 1, 2018.
During a break at NAMM, a friend showed me the tag line for Biotek that described it as an “organic synthesizer.” That sounded quite intriguing, though also a bit baffling. Did it contain biological elements or designs based on organic systems? It turned out to be a new software synthesizer from Tracktion. It uses high-quality field-recordings from nature as sample sources and incorporates them into a full-featured synth architecture. The centerpiece of the synth and its user interface is a function that morphs between the natural sound and different degrees of processing from the rest of the synthesizer.
It is quite striking to look at. Playing with just the central control is fun. The sounds are unique, especially in the middle between fully synthesized and fully nature-sample. I had fun playing a patch based on avian sounds from the connected keyboard and found myself thinking of musical ways to combine it with analog sounds. Whether it would be a novel feature for a handful of tracks or an regular instrument is hard to say – I leave that to other musicians to explore and decide.
All during the demo of Biotek, I was listening to the sound on Tracktions new (and first) hardware interface, the Copper Reference.
As one can see in the photo above, it is gorgeous. The case is a shiny copper finish with soft edges, topped with two vacuum tubes. The vacuum tubes are part of a selectable overdrive circuit for the inputs. It also contains high-end high-sample-rate D/A and A/D converters. It sounded great in the Biotek demos, though a NAMM booth is not an environment where I can discern its character compared to others. It is definitely a boutique interface that will carry a high price tag ($5000 USD), especially for just stereo. But it is gorgeous!
via GuyR: “A demonstration track of my synthesizer featuring 17 instances of Waves Element.
All sounds including drums are unprocessed straight out of the synth.
A few other Waves plug-ins were used for mastering.
I suppose on the eve of MacWorld, I can take a moment to brag about a recent Mac-related accomplishment of mine:
E-MU® Systems has announced the release of a Beta Macintosh OS X driver (Apple CoreAudio) for its 0202 USB 2.0 audio interface and 0404 USB 2.0 audio/MIDI interface… …E-MU's new Beta Macintosh OS X driver is now available for free download at www.emu.com.