The All Data Lost Noise and Music Festival kicked off iBoD’s exploration of playing musical sound and morphing it into multi-dimensional soundscapes as an exercise in deep listening and what it means to “hear”. I was inspired in this endeavor by two experiences: hearing Incidental Exercise at a 919 Noise Showcase, and improvising with Lisa Means when we were on a group beach trip together. Incidental Exercise is a duo made up of a guitar player and a modular synth player. When I heard them play, I was completely mesmerized by the intricate patterning they were able to create from a guitar as the sound source for a modular synth. The improvisation they performed was as delicate as lace and as boundless and tumultuous as the ocean. At the beach, Lisa, a guitar player who is deaf (but has some hearing thanks to hearing aids), brought several of her beautiful custom made guitars for us to play along with the sound of the crashing waves. Once we were home, we got together to improvise a few more times and then life took us in different directions.
When iBoD was invited to play All Data Lost and the usual bandmates were not available to prepare for that date, I contacted Lisa. My recent purchase of a Behringer Neutron semi-modular synth had me thinking about creating a sonic pallette along the lines of Incidental Exercise. While Lisa mostly plays acoustic guitars, she does own a Hollow TKD Hybrid electric guitar, which she was willing to play for this event.
We improvised together on Saturday afternoons in July and early August. At first, I struggled with handling the sound coming through the Neutron. I wanted to start with a clean guitar sound that could then be expanded and shifted through patching and tweaking of knobs. I learned that a tiny little knob tweak could bring forth a sudden blast of sound. A couple of times things got out of control to the point of turning the synth off and starting over.
Lisa experimented with lots of extended techniques using glass and brass slides, aluminum foil and various capos. For the ADL performance she settled on a spider capo which is a capo that can be set or released for each string. Then she found little gloves that went over each “finger” of the capo. This allows harmonics to be added to the mix, and Lisa can play in front of and behind the capo. This worked out beautifully as we built the soundscape for our set.
Here is the nested soundscape Playing by Ear as captured at The Wicked Witch for All Data Lost Fest. Special thanks to sound engineer Oona!
iBod will perform THIS SATURDAY at 3:20 to 3:40 pm, so do not be late! This version of the indiosyncratic Beats of Dejacusse (iBoD) features Lisa Means and me in the first installment of a long term sonic exchange called Playing by Ear. Our set up is simple with Lisa on a Hollow TKD-Hybrid II electric guitar (built by Terry Dineen of Raleigh) which will play through a Behringer Neutron semi-modular synthesizer that I will be navigating into the amplifier. So Lisa provides the melodic tones and rhythmic energy, while I modulate timbre and propagate rhythmic structure.
When I first proposed this set up to Lisa, she said, “I should just give the guitar to you!” I am controlling the sound that comes out of the amplifier, so Lisa wondered what she was contributing. Thus began a dialogue about collaboration, listening, playing, structuring a sonic improvisation, narrative, adaptation, exchange, and standing in our own sonic authority. This dialogue is 25% verbal and 75% listening/playing in the moment.
Another factor in all of this is our different ways of hearing. Lisa experienced a gradual hearing loss through adolescence to adulthood. Hearing aids help bring her sense of hearing out into the world, while much of what Lisa hears is in her mind’s ear. When Lisa listens deeply to the sounds that emanate from her collection of crafted guitars, she hears (and conveys) vast worlds. My own hearing often feels supersonic to me. I hear the clocks ticking, the brown noise of the air purifier upstairs, an airplane passing over the house and the morning trilling of wrens as a musical interplay with rich harmonic textures. Sound surrounds and beckons me. Lisa and I talk in order to understanding how we each are hearing what we are playing together. Sometimes we agree on a theme and go from there. After we play, we talk about what we heard.
Playing by Ear is Lisa channeling the vibration of the present moment via her fingers on electric guitar through the Behringer Neutron synth, which I will patch and tweak in response to what Lisa says. I am constantly listening and tuning in search of “all of the waveforms” with the intention of catching and amplifying patterns of life in the moment. This is easy to do in the SunRa Room, with its lively acoustic enclosure. Here are two snippets from one of our sessions a few weeks ago.
We are both aware that this will be quite different at The Wicked Witch this week. What happens when we take this dialogue into a public space? How will we play with all that we are hearing in that space? We are ready to find out!!