Live at the Hundred Years Gallery (2015)
This is a live set I played at the Hundred Years Gallery in Hoxton, London in February. Originally, it was going to be a 2 hours set broadcast live on the radio, but this is what it became. This was live-patched, using my MOTM analogue modular synthesiser.
Live patching is a way of performing live, where I go on with a bunch of patch cables around my neck and nothing plugged into the synth. I get sounds going as quick as I can and then change them over the course of performing. For this particular performance, I started with FM chaos. This is good, because it gives a lot of potential variety, however, if I had actually been on for the entire two hours, it would not be all that well-suited to slowly evolving drones.
All the sound here is analogue, but the panning and recording is handled by a program running in SuperCollider.
Podcast: Play in new window | Download (Duration: 19:45 — 27.1MB)
Live at the Living Room Concert (2011)
I wrote a SuperCollider patch that automatically pans my live synth patching and makes recordings of it. This was the maiden voyage in a concert situation, used in a very small concert on 19 September 2011 at the Fossbox workshop in Wapping.
For this gig, I mostly did chaotic FM modulation. I played around quite a lot with different modes of syncing the oscillators. Sudden major changes (including the silences) are from switching to a hard sync. I haven’t used the syncs much before, so I was never sure what they were going to do.
I’m planning on submitting a copy of this recording with my PhD thesis next week.
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Nice to See You by No More Twist (2008)
No More Twist is a new duo of Polly Moller and I. We played this improvised set live on KFJC on 17 July 2008. She was on flute(s) and noisemakers and I played a live sampling application (written in SuperCollider). We were featured to promote the Edgetone New Music Summit. We will be playing there on Wednesday (23 July 2008), where we will be premiering a piece called “Inquisition.” It’s going to have Polly hooked up to a lie detector that I built and I’ll be interpreting her biometric data as she answers questions posed by the audience.
This piece here, however, has text from a long spam email and uses the latest iteration of my SC program SimpleSample.
Podcast: Play in new window | Download (28.0MB)
She’s Not There (2008)
I picked up my sousaphone this afternoon, with the idea that I could improve my chops and work out some angst. As I lifted it, the spit valve fell off. As I played it, several other bits rattled loose. Alas. So I put the headphone part of a usb headset around the part of the bell just above the bolts and started recording.
My voice has been changing. It’s more or less stable now, but I only have good control of it for about the bottom fifth of the main octave. After I sing some warmups, it feels tired. This process of learning to sing again in a lower pitch reminds me very much of switching from playing trumpet to tuba. Vocal cords and buzzing lips use the same physics, so it’s about the same idea. This is the first recording I’ve made of my voice since it began to change.
I found the last recording I made before it started to change and discovered I’d used the words “boys” and “girls” in a longer text. So I grabbed those two words and stretched them out a bit. It’s very very strange to me that’s no longer my voice. My voice now is the voice of a stranger. I wouldn’t recognize it in a recording.
I overdubbed some low frequencies from my MOTM synthesizer to make up for the headset’s inadequacies – it doesn’t have good frequency response in the tuba range.
The title of the piece is from a book by Jennifer Finney Boylan, She’s Not There: A Life In Two Genders. She talks about how she chose to keep her old voice. I can’t keep mine. It will never return. I feel a profound sense of loss for an attachment I never knew that I had. This is an elegy for my old voice. It was never lovely, but it was mine. No longer. It’s also an introduction to my new voice. The new instrument I’m just learning to play.
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Live at the 1510 Performance Space (2008)
Les HUTCHINS and Matt DAVIGNON
Live improvisation recorded at the 1510 Performance space in Oakland, California on 5 February 2008.
I played an Evenfall Minimodular synthesizer, looped with a SuperCollider program. Matt played a bunch of pedals and cool little boxes.
Recording by Clyde NIESEN
Podcast: Play in new window | Download (38.5MB)
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.
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