Blakes 9

I’ve been working on this piece for over a year and it’s time to say it’s done.

The inspiration to start this piece came from two sources. One was that I watched the TV show Blakes 7 and thought it had great incidental music. And the other was that I briefly dated a poet who had a thing for the number 9.

I recorded a loop of synthesized sounds that seemed to go with the sounds on the show, and then I came up with a cutup algorithm that broke it into pieces based on a 9-feeling. But that wasn’t enough, so I added in some glitching. But that wasn’t enough, so I added in another section, and so it grew in an ungainly way, until it filled 80 speakers and was premiered as an N-channel piece at a BEAST concert at the CBSO Centre in Birmingham in June 2009.

Then I spent the summer mixing it down to 2 channels, while trying to prevent it from getting muddy. I won’t lie, it sounds better with more channels, but the stereo version is ok. If you have a subwoofer, it’s even better.

If you happen to have a speaker array of 8 channels or, really, any number of channels and you think you might want to present this piece, please contact me.

Shorts: #29 Raining Up

Commissioned and titled by Autumn Looijen

This piece was created using a MOTM Synthesizer and mixed in Ardour. There were several false starts. I had been doing field recordings of storms and for a while, every artificial sound I made seemed to also sound like weather. The title Autumn chose seems to indicate that I didn’t quite get away from weather-related sounds.

I have started accepting commissions of one minute pieces again, and I’ve dropped the price since the last round. If you’d like to commission me, check out my online shop thing. Order now to beat the holiday rush!

Shorts: #28 Untitled

Commissioned and (un)titled by Cecile Moochnek

I wasn’t looking for a commission when I walked into the Cecile Moochnek Gallery on 4th Street in Berkeley. I was looking to do Christmas shopping. But I got talking to the gallery owner about art and music and she asked me to write her a short piece. This was in December of 2007. I wrote the piece in 2008, but didn’t hear back about a title and got busy with other things. Until today when inquiring about a title for a new commission, I realized this one had never been posted.

I made this piece with a Evenfall MiniModular Synthesizer. This was a all-in-one box modular synthesizer from the 1990′s. It’s a great little synth.

Blake’s 9

This piece has changed significantly since I first posted it and a newer version has since been posted.

I recently watched the entirety of the TV series Blake’s 7. Like all BBC science fiction productions of it’s era, the incidental music and sound effects are outstanding. The background hums, the computer whirrs and the ominous notes create a mood and a sense of place that is alien. After watching several of the episodes, I went home and created a patch on my MOTM synthesizer which seemed to perfectly capture a progression of mood as it might appear in an episode with Avon creeping along with a ray gun, infiltrating a Federation base.

However, as nice as patch was, with it’s 4 minute long loop, it wasn’t a piece. And there wasn’t an obvious way to make it become one. It was too complex and had too much character to mix, but not enough to stand on it’s own. I let it sit for weeks and thought about other things, specifically, a beat generation algorithm that was going nowhere. And then I met a poet who is obsessed with divisions / groups of 9.

I set my beat maker to 9, and then I thought of using it as a an organizational principle for cutting, rather than a way to make cheesy drum loops. I used it to cut my loop to sections and then into grains. Then I played back the grains in groups of 9, to make measures of 9 beats. In order to add some pitch variety, I changed the speed of playback of the grains, with rates of 1, 27/25, 9/7, 7/9, 25/27, a few intervals in a just version of the Bohlen Pierce scale. This scale uses 3′s instead of octaves, so the ratios have multiples of 3 where you would expect powers of two for more traditional scales.

This is a work in progress and may go on to be an installation or gain additional movements or neither or both.

Are You a Feminist (Part 2)

I started making recordings for this piece well before I made the piece, when I recorded two women in Paris answering the question “Est-que ce tu es une feministe? Pourquoi ou pourquoi pas?” (Are you a feminist? Why or why not?) Then, uncertain how to proceed with the material, I let it sit on my hard drive for over a year until Sula, one of the voices, contacted me asking if I wanted to play some music at ETC, a feminist hacker con.

Rather than do the piece entirely in French, I asked the same question in English to some of my American friends and then in German to some of the con attendees. All but one of the participants was put on the spot with the question. Part two uses the voices of Solène, Anna, and Aileen.

Some of the paramteres of this piece are controlled with a game pad.

Shorts: #22 For Benjamin Britten

Commissioned and titled by Michael Strickland (aka sfmike)

Mike gave me the title before I wrote the piece. I spent a lot of time thinking about what to do with this. This last year, I learned that the Phillips Corporation had intended to get Britten to do the music for their pavilion in the 1958 Brussels World’s Fair.. They first went to their preferred architect, Le Corbusier, and he insisted that they use the music of Edgard Varèse. instead and Philips agreed. Their reason for initially wanting Britten was due to the popular success of his orchestral piece, The Young Person’s Guide to the Orchestra. It’s a piece with an optional vocal part which explains what instruments are playing as the musical themes pass through the different sections. They thought he could do something with a Young Person’s Guide to Electronic Music.

This came up in my classes because the studio that Philips built for Varèse eventually become the Sonology course, in which I am now enrolled. We have a large portrait of Varèse working on his composition on one wall. But what if they had not given into Corbusier’s demands and had just picked a different architect? I purchased a copy of the Young Person’s Guide and listened to it a few times, trying to imagine what Britten might have done with the Phillips Pavilion. It was boring! So I listened a few times to his much preferable War Requiem. Testcase suggested that I do something with the poetry of Wilfred Owen, since Britten used his work. I decided to combine both approaches.

After Varèse, Koenig started a course in electronic music, which also helped form Sonology. I got a copy of the instructions on how to realize Koenig’s Terminus. His instructions were more or less state-of-the art at the time, and thus would be related to what Britten would have done. I focussed on attacks and synchronization, synchronizing to the middle of every note except for the last few notes. I used some voltage control to change attack shapes – something that couldn’t be done at that time, but is labor-saving. The attack shapes are two different kinds of triangles, sines, sawtooth going up, sawtooth going down and square. Most of the sounds are tuned sines, but I added some variation later by using triangle waves and FM modulation, the later of which was definitely not available, but there were way more complicated techniques at the time that lead to similar sonic results.

The poem is Anthem for Doomed Youth, read by me. It’s stereoized by putting the right and left slightly out of synch, and is quiet. However, this doesn’t make it sound far away, because it sounds so close miced. This is the only non-mono part. The Philips Pavilion was all about spatialization, but this is an alternate universe where Philips refused Corbusier’s demands and got a different architect. Xenakis never wrote Metastasis. Curtis Roads never wrote his book on microsounds. River Runs was never written. Computer music takes a drastically different direction. And we all wear silver clothes and have flying cars.

Shorts: #8 svp

Titled and commissioned by Gino Robair

This was made in the BEA 5 lab of Sonology at the Royal Conservatory in The Hague, the Netherlands. It’s made with VOSIM controlled by a sequencer and being run through a third octave filter, which is some crazy custom, antique european thing. Man, that filter sounds good. They’re on ebay once in a great while. I want one, but I’m too lazy to do the custom modding myself. It’s Danish, made by Brüel & Kjaer in Copenhagen, Band Pass Filter Set Type 1612. The interface is really modded at school.

Multis 1.0

Recorder / Flûte à bec

Un tactus rythmique avec des multiphoniques.

A rhythmic tactus with multiphonics. (First revision)

Recorded at CCMIX on 12 juin 2006. Played by Solène RIOT. / Joué par Solène RIOT.

Improvisation – 12 juin 2006

Celeste HUTCHINS and Solène RIOT

Avec une flûte à bec, des programmes, et des échantillons sonores.

Recorder (non-transverse flute) and home-brew sampling software.

Recorded at CCMIX on 12 juin 2006.

Élégie

Cornetto and Computer / Cornet à bouquin et ordinateur

Cette pièce a un caractère mélancolique. Les notes sont instables, basculent de l’équilibre au deséquilibre, comme la vie vers la mort. C’est à la mémoire des proches qui m’ont quittés.

A piece with unstable notes. They glissando from equilibrium to precarity as life slides into death. This is a remembrance of my deceased mother and foremothers.

Recorded at CCMIX on 12 juin 2006. Played by Solène RIOT and I. / Joué par Solène RIOT et moi.

Meditations pour les Femmes

La poésie est par Jean SIRIUS 1981. La traduction est d’Isabelle JULIENNE 2006. La voix est celle de Solène RIOT.

The French version of Meditations for Women.

Performed at la Barbare, 11 Mars 2006

Faux-bourdon Bleu

An artifact-laden brassage where samples from french radio news are expanded and then compressed, creating a drone texture. The samples used include the France Bleu theme, the RFI news theme and some chanting from a protest.

De la synthèse granulaire avec beaucoup d’artéfacts. Il y a des enregistrements de France Bleu, RFI et une manifestation.

Performed at la Barbare, 11 Mars 2006

This piece plays triads with a sound that resembles wind chimes. It uses a spatialization algorithm so that each “chime” sounds like it is coming from a different location. The pitch of each new set of chimes is based on the pitch of the chimes that precede it. The pitches come from a 21-limit tuning table.

I wrote this piece while going through a divorce. It was intended to sound angry, but instead seems sad.

Des triades des cloches fausses.

This is my first UPIC piece at CCMIX. UPIC (plus bonne version française) is a graphical, glissando-oriented system designed by Xenakis. This piece uses all sine tones and all glissandos are straight lines (no vibrato)

This piece contains extremely low frequencies that may be difficult to hear on some speakers. The sounds are inspired by the surprising, different and wonderful mechanical noises made by the appliances in my kitchen here.

To the right of Rush Limbaugh on the prison torture issue, there was Michael Savage, who advocated increasing prison torture and sticking lit dynamite in the anuses of Arab detainees. (Savage May 10-11, 2004)

I found a similarly racist clip from a morning show on NBS called Imus in the Morning, which was showing pictures of Palestinians mourning the death of Yassir Arafat. One of the voice-overs from the Imus show was calling the Palestinians “animals” and was advocating dropping “the bomb” on them and killing everyone. The other co-hosts laughed along with this idea. A week later, they played a clip of someone pretending to be General Patton, speaking about a real event in which an embedded reporter had just filmed footage of a US Marine shooting an injured, unarmed Iraqi insurgent. “Patton” used the term “raghead,” and the phrase “bearded fatwa fairy.” (Imus in the Morning) Imus’ racism was thus clearly linked to his homophobia. During the Arafat sequence,, one of the male voices said something about the “fat pig wife of [Arafat] living in Paris.” Another commentator, noting the emotion of the Palestinians said, “It’s like the worst Woodstock.” Hippies are liberals are feminists are Palestinians are ragheads are gay are women are Iraqis are French. Alien others are thus interchangeable. Every group is standing in for every other group. And while they laughed, one of the commentators kept repeating “animals” and “kill them all.”

As I worked on the piece, I became discouraged. NBC was forced to apologize for the content of the Imus show (“MSNBC apologized for racist commentary on Imus”), but the piece only reminded me of the left’s failure to turn torture into a mainstream issue. I decided that offensive statements about the desirability of torture were not enough to support the piece, as clearly, not enough people would care. Also, “here’s a guy saying something offensive” seemed too weak to carry a piece.

I decided to focus on the laughter. I looped the laughing track and played violent phrases from Imus and Savage on top. Thus the Imus men laugh hysterically at themselves and at Savage. The entertainment value of genocide, violence and torture is thus highlighted.