This morning I look back to μHausen (micro-Hausen) at Camp Happy in the Santa Cruz mountains. It was really a “tiny festival within a tiny festival”, as we took over Sunday afternoon with our esoteric and (mostly) electronic music.

I brought a relatively compact and self-contained setup:

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A few “greatest hits”, such as the Evolver which I mix with live performance on prayer bowl; the monome controlling Max/MSP on the MacBook for live sampling and looping of Indian and Chinese folk instruments; the “trusty Kaoss Pad”; the iPhone running the Smule Ocarina (which I had just used two nights earlier at Instagon 543. I also added the iPad for the first time, using the Smule Magic Piano, Curtis granular synthesizer, and an app the simulates a Chinese guzheng.

I packed up and made the long trip from San Francisco to Boulder Creek. Unlike Santa Cruz, which is a straight shot, getting to Boulder Creek in the mountains is a bit of a challenge on winding mountain roads, some of which masquerade as state highways. Look for an upcoming “fun with highways” describing that part of the experience.

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I arrived just in time for the performance. Respectable Citizen, the duo of Bruce Bennet and Michael Zbyszynski, performing keyboard+electronics and saxophone+electronics, respectively. Their set featured fast saxophone riffs and “watery” FM sounds, some loud oversaturated moments, a fast shuffle, urban-landscape sounds, and insect-like sounds, with lots of speed changes and signal processing (e.g., waveshaping).

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Luke Dahl performed a fun piece based on samples from Karlheinz Stockhausen’s Kontakte 2. It is one of my favorite recordings, and Luke’s samples featured one of my favorite moments from it (a sort of descending pulse sound that eventually slows down to become discrete percussive hits). He arranged short samples on a grid that could be triggered independently, to make “improvised Stockhausen.” I got a chance to try it out after his performance.

I was next on the program. I opened with the live sampling and playback controlled by the monome. The light patterns on the device still captured the attention of the audience even in the bright afternoon sun. I think they were also intrigued by my technique of putting the iPhone Ocarina in front of the speaker.

Next up was a live broadcast of the R Duck Show. The opened with the somewhat funky 1970s theme from Sanford and Son, which soon started to glitch and was eventually replaced by freeform noise along with keyboards and guitar. Eventually, a mellow beat emerged (I am pretty this was done with Ableton Live!). Oh, and the program’s host Albert brought chocolate. Really good dark chocolate infused with chilis. Quite tasty.

The program was rounded out with The Stochastics, a trio of Chris Cohn, Leaf Tine and Wayne Jackson.

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The set opened with low rumbling noises, which served as a foundation for Wayne’s circuit bent instruments and Leaf’s vocalizations and performance on an instrument which seemed to be a didgeridoo with a trombone-like bell. Lots of interesting words and incantations and throat singing, and squeaks and squeals and rumbles from the circuit bent instruments. Here is a close-up of the impressive array of circuit bent toys.

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One fun moment was Wayne attempting to create a sub-contra-contra-bass plucked string instrument by stringing duct tape between the microphone on one side of the stage and the speaker stand on the other.