CatSynth

A few photos and thoughts from last Friday’s Reconnaissance Fly performance at Studio 1510 in Oakland.

I knew that Studio 1510 had a great acoustic piano, which I wanted to take advantage of particularly for our piece Emir Scamp Budge which features an extended jazz piano solo. But it turns that they also now have an actual Rhodes Stage Piano Mark II. I could pass up the opportunity to appropriate it for our set. Here is the Rhodes with the E-MU Proteus 2000 and Korg Kaos pad conveniently perched on top:

Together with the acoustic piano and MIDI keyboard for a rather massive keyboard setup:

Click the above picture to enlarge it and spot the cat!

Here we are getting ready to play the first note of our opening piece “Small Chinese Gong”.

[Photo by Tom Djll.]

The set went well from that point. I have not yet heard the recording, but I thought the first piece, as well as “One Should Never” (which was about as tight as I have heard us play it), “Ode to Steengo” – with the interplay of the text, the Kaos Pad, odd drum beats and Tim’s live electronic processing – and “Emir Scamp Budge” went particularly well.

Matt Davignon opened for us with a solo set featuring a live performance on drum machine and effects processors.

This was nominally a performance marking the release of his new CD Living Things, although none of the pieces in the performance were actually from the CD. But that was OK. I particularly remember the last piece in the set for a variety of reasons, including but limited to the subtle effects in the music.

Thanks to Scott Looney and Studio 1510 for hosting us!

Here is the first photo of the current Reconnaissance Fly lineup, taken after our performance on KUSF today.

[Photo by Bryan Chandler]

Thanks to our host Bryan Chandler for the photo, and of course for the opportunity to play.

Here is a photo I took at the start of the set.

You can see the score for our opening piece “Small Chinese Gong” laid out behind the keyboard. This is one of the graphical scores that I have mentioned in a previous review. This is also the piece that fell victim to the “rebellious blue cord” that left the performance bass-less. Fortunately we were able to correct that and the rest of the set went quite smoothly.

You can listen to an audio archive of the performance. I thought the later pieces, in particular “Canada”, “Ode to Steengo” and “An Empty Rectangle” came out quite well. We are definitely looking forward to our live performance tonight at Studio 1510.

For those interested in the technological aspects: I was using my trusty Korg mini-Kaos Pad, E-MU Proteus 2000 (with Vintage Pro and Mo’Phatt), and a Voce Electric Piano module. Tim Walters was also performing live custom electronics programmed in Supercollider.

From Kevin Kelly of The Audio Playground Synthesizer Museum, via matrixsynth:

The Technos Acxel is an interesting synthesizer, based on manipulation of spectra in the frequency domain. This is something several of us have been doing in software for quite a while.

In addition to the Acxel and the Rhodes Chroma, I see an E-MU EMAX in the background.

Our first Weekend Cat Blogging of 2010 begins in grayscale:

Luna is on her favorite beanbag chair in a relatively clean studio. Nearby is a crate full of old audio interfaces – it seems we have quite a few E-MU, M-Audio and Digidesign interfaces, some in various states of disrepair or obsolescence.  We rely on one or another of these portable interfaces for live shows.

Meanwhile, Luna drifts off to sleep…

The Carnival of the Cats will be up this Sunday at Mind of Mog.

The monthly Bad Kitty Cats Festival of Chaos will be hosted on Sunday by Samantha and The Orange Kitty at Life from a Cat’s Perspective.

And of course the Friday Ark is at the modulator.

A day when I was feeling mildly ill turned into an incredibly creative and productive day, including lots of time in the office/studio.

Here we see Luna sitting on the ledge that borders the studio area. In the background one of our main workstations, with Pro Tools running on the computer, and the trusty E-MU Proteus 2000 module off to the side (it’s back in its rack after the recent Reconnaissance Fly performance). One of several photographs by our friend Luxe hangs in the back.

The studio ledge is the highest point in CatSynth HQ, which makes it attractive to cats. There is also another workspace against the ledge where I often sit, so she likes to be nearby.

Note that the duck is actually musical instrument that I have used in several live shows .

I do sometimes feel a little nervous when Luna gets up the ledge, given how high it is above the floor below. But I am putting my faith in her feline balance and dexterity. Eventually she comes done into the space itself to curl up for a nap, often on her favorite beanbag chair:

Weekend Cat Blogging #231 is being hosted by Diamond and Tristan over at digicats. Do check out their cool graphic featuring another black cat with green eyes and a human “cat woman” companion.

The Carnival of the Cats will be going to Nikita’s Place this Sunday.

And of course the Friday Ark is at the modulator.

Submitted by Vince Noog via facebook:

Originally from the French-language version of Audiofanzine. The cat is napping atop an Akai MPC 3000. The MPC 2500 was “represented” in Nomadik Messenger’s performance at the APAture Festival” back in September.

I also noticed an E-MU SP-12 in one of the other photos from this set (sans chat).

A follow-up of sorts to Weekend Cat Blogging. Luna paused in front of this rack and of course I had to grab the nearest camera and snap a picture of her posing.

If Luna represents the present, the gear represents the past. The Yamaha TX81Z has a long personal history, but the other E-MU and Yamaha modules are just there, filling up space. I can remember when these were coveted items and each came with a large price tag. But they do make a nice backdrop for a “CatSynth pic.”

Last Friday, I performed at Book Zoo in Oakland. To start off the evening, I did a solo set, which was followed by a performance of Polly Moller’s The Flip Quartet.

Book Zoo itself was an interesting space, with high ceilings and bookshelves. For a space of this size, we had a decent turn-out as well.

This was the first time in quite a while that I did not use any software components as part of a solo set. The performance centered around the Line6 DL4 for looping and various delay effects. I made extensive use of the analog-delay simulation for echoes and feedback, with various wood blocks, gongs and the ektar as source material.

[Photograph by Jennifer Chu. Click to enlarge]

Of course, the Kaos Pad, DSI Evolver and E-MU Proteus 2000 were also used as electronic sound sources. I also included several beat-based elements, both from hand-drumming and from the sequences are the Evolver and the Proteus 2K, which were matched both rhythmically and arhythmically against the delay lines. Overall, it was not the tightest solo set I have done, but it worked and seemed to be well received by the audience, and stylistically it was a good lead-in to the Flip Quartet.

I had seen a recent performance of the Flip Quartet, and this performance followed the same structure and format, but with different performers. In addition to myself, there was Moe! Staiano, Suki O’Kane and Travis Johns.

[Photographs by Jennifer Chu.]

Basically, the Flip Quartet is a composition for four improvisers who move between four stations representing the cardinal directions (north, east, south, west) and the four medieval elements: earth, air, fire, water. Each station had a variety of instruments and sound-making objects to represent elements. Each performer has a three minute timer. The timers are synchronized, and when the three minutes are up, everyone moves to the next station. We rotate around all four stations twice.

The “fire” table, which included metal and electronic items, was the most populated, with the water table (liquids, strings) having the fewest items. However, Moe! did bring an interesting old string instrument. It was wooden, had four strings and piano-like keys for striking the strings. It was not an auto-harp, it was definitely something else – and it was the main instrument I played during my trips to the water station.

Another interesting addition was the box of worms that Travis Johns contributed to the earth station – the earth station mostly features drums and wooden objects. The worms, were in a box with dirt and vegetable manner, and the box was equipped with a contact microphone that could pick up audible signals from the worms that could then be interpreted musically by the performer.

Musically, this was very different from the previous interpretation of the Flip Quartet, a combination of the musicians involved, the objects available, and the setting. There were some cool moments, where two or more performers together make a musical phrase or pattern emerge from within the overall improvisation – that is something I am always looking for.

Luna enjoys a snooze in the studio this past Sunday. We had quite a warm weekend, close to 90F in our neighborhood.

This is another photo featuring our neighbor. During one of his visits, I found him hiding behind this equipment rack.

Although barely visible from this angle, this rack features some of the older E-MU Proteus and Yamaha FM modules.