String of Yeasts

After reading and studying the data (so far) from The Sourdough Project, a bit of it jumped out as a possible sound pallete. The growth profiles of the five most prevalent yeasts and aabs (acetic acid bacteria) measured as increasing Optical Density over a 48 hour period. Measurements were taken in 12 hour increments and recorded from 0.1 to 1.2 levels of density.

I was drawn to this data because the graphs reminded me of waveforms.

I am not at liberty to reveal the details of the data, so suffice to say that these are 5 strains of yeast. We will call them pink, blue, orange, green and neon. The pinpoints mark the 12 hour samplings of the prevalence of the strain. So at 12 hours pink grew to around .25 OD, while neon grew to .6 OD. How to represent this in sound is the next question!

My old friend, the piano keyboard, provides a familiar sonic framework. A two octave chromatic scale will represent the sound of OD growth by stretching the OD measurement scale over the two octaves. Like this:

Each OD amount covers 2 notes. D and D# represent the .1 amount, E and F are .2 and so on. This allows some wriggle room when the 12 hour sample seems to be between two numbers as is seen with pink. The growth range for pink will run from D to F and encompass 4 notes. In the case of neon, the growth range runs from D to C and encompasses 11 notes. The differences in the growth rates will be heard in the number of and duration of the steps taken within each twelve hour time frame. So far, so good!

The time frame will run in beats and measures. Since it is 48 hours of growth, one hour can equal one measure. The step patterns will run up to the highest note indicated by the OD data at that particular 12 hour marker. That makes each sampling unit 12 measures in length – seems perfect. Even better, at 4/4 time, each 12 measure sampling unit is 48 beats long! Synchronous!

Lets lay out the first 12 hours of pink and neon. Since all the yeast densities begin from .1, all the patterns will begin with D in the 3rd octave (D3). pink grows from D through D#, E, and lands on F. For this growth pattern there are 4 notes and 48 beats, so each note will be 12 beats long. The long notes and fewer steps up communicate that pink did not grow much in the first 12 hours. Neon grows from D, D#, E, F – C. For this growth pattern there are eleven notes and 48 beats. Each note is 4.36 beats in length. So the first ten notes are four beats long, and the eleventh is eight beats. The longer note at the end places emphasis on the final growth number for that 12 hour period. Faster steps further up the scale sonify neon‘s more abundant 12 hour growth period.

Looking at the graph, it is easy to hear that the growth patterns of pink and neon invert at the 12-24 hour sampling unit. Pink leaps from .25 to .7, while neon short stretches from .6 to .75. Again, note duration and number of steps will sonify these contrasts in the data.

While a sense of growth is captured by the movement up the scale, there is not yet a sense of increasing density. To get at this, I decided to sustain the top note of each 12 hour sampling unit. As example, pink’s F and neon’s C would continue softly to the end of the 48 measures. This would follow for the last note of each 12 hour cycle and will create the sense of sonic density.

Enough talk, lets have a listen!

neon 48 hour growth pattern

pink 48 hour growth pattern

These are the 48 ms versions of the patterns. So 48 4/4 measures at 120 BPM really stretches out these relationships making it harder to hear the movement of the data. Ableton Live has a function that allows me to collapse the sequence from 48 measures to 24 measures and still maintain the rhythmic integrity of the phrase. WoW! Then the phrase can collapse to 12 measures. All of these phrases will likely be a part of the Sourdough Song, but I am still deciding which version (24ms or 12ms) conveys the data more clearly. One of the researchers on the project said the longer growth articulations conveyed the anticipation the bakers feel as they wait for their starters to grow.

Here is the 12 ms version of both strains together. See if you can hear the changes described above. Listen closely for each voice – you will hear pink holding longer tones, while neon changes tone more quickly. It helps to look at the graph while you listen.

This will likely be one a motif within The Song of Sour Dough. (What do you think of separating sourdough in the title?)

 

Playing by Ear – What did we learn? Where do we go from here?

Following our first play date for All Data Lost, Lisa and I talked about what happened:

Lisa: I thought, “Oh, shit” when I first walked in [to The Wicked Witch] because its so dark I can’t see what I am doing, and then, you know, if someone is talking to me?!….but the energy there allowed it to be OK. You don’t have to interact, you can be alone in the dark with other people and not feel obligated to look at them, talk to them. Which is kind of freeing, actually, its freeing with the music too. Interacting with the audience effects my concentration on what I am doing with the music.

Jude: I really appreciated that aspect of the festival experience. The total focus on what is being created, on what is happening right now in this primal sonic moment! Most of the artists I heard during the afternoon performances could not be classified into any genre and each one was an engaging and unique experience.

Lisa: I also felt the audience was very attentive! They’re not looking at, or talking to, or doing anything else. They are standing there in the dark just listening to what you are doing! Its pretty neat! Even though some styles of music feed off of interacting directly with the audience, this is more experimentation, so I appreciated being able to focus on what we were doing.

When I listened to the recording, I was pleased with it, I thought it was pretty good. There was enough variety, without being too way out there. Here (in the SunRa Room) we are experimenting, then when we go and play somewhere, there needs to be more structure. I heard that. I liked the layers, and I think what I am hearing most are harmonics, and the harmonics allows the layers. The layers don’t let your brain get lazy or bored. The layering inspires curiosity!

Jude: Experimental sound art, which is what I feel like we are doing, is just one big surprise after another, and/or an evolving constancy built upon repetition and tiny changes. The layers of the soundscape are made up of harmonics, prolonged repetition, tiny and gigantic changes at a variety of tempos. Some folk’s hearing is limited by their thinking about genre classifications and performer virtuosity/charisma. Experimental sound can too overwhelming to the codified earbrain.

Lisa: The brain is like that in other ways too. People who believe that everyone should behave a certain way and anything outside of their prescribed way of thinking causes anxiety and tension. The brain is like a muscle, if you don’t use it to the full potential, it is going to wear out and not be able to tolerate much. When you exercise it, it begins to be able to handle more and more and more. Music and math are ways to exercise the brain. Math is completely like that, its exhausting, frustrating. You don’t see it and one day the light bulb comes on, and you are a totally different person.

The biggest difference between playing here (the SunRa Room) and playing at The Wicked Witch was having other people involved in listening. You feel some responsibility to bring a nice experience to them. So I think I listened more! I am controlling this, what do I want to put out there? I am not that experienced in playing for an audience, so I have a small bag of tools. So, in some ways, this lightens my responsibility to a degree.

Jude: I like having a minimal bag of tools cause it makes me go deeper with them. Also, I get overwhelmed by all that can be done to a sound signal and routing the signal to the right places, midi and audio, etc. So minimal suits my style, which is one of constant learning and deep listening.

Lisa: As far as the sound quality, I thought it was great! It was easy for me to hear what I was doing. I knew where I was at, where we were at. Even though this was the first time I played with the spider capo and that extra layer of harmonics (Lisa had the harmonics for the bottom three strings of the guitar in addition to fingering notes.), I didn’t have to do anything extra or anything difficult. Pluck the string and it is there! The reason I would use ANY tool is because it makes things easier. I am allowing each guitar to talk by doing less. I really want to hear the voice of the guitar, each one is different. That is how I decide to buy a guitar is because of the voice.

After we talked through what we each heard in our playing, I realized that Lisa listens for new ways of playing whenever she explores her guitar’s sounds. We are both experimenters, and feel quite free in that arena. We find structure more challenging. I have lots of questions about structure – my interest in modular synthesis comes from the very clear structural forms that are present in waveforms and filters. These forms, coupled with various sound sources, make interaction the essential feature of every sonic moment. How do we structure interactions? What is included in these interactions? When do we apply structured, conceptual thinking and when do we shake it off and realize “it doesn’t matter!!”

The next phase of Playing by Ear, will include Lisa’s guitar into the Neutron routed through Ableton Live and the AAC/EG clip templates created in the Abeju Synth Station. (See https://wp.me/p5yJTY-vL for more info) Here is a sample:

Come hear us at 919 Noise Showcase in October at the Nightlight in Chapel Hill.

1000 Tiny X-rays and O Men and Mice from The Art of a Scientist exhibit 2019

The Art of a Scientist exhibit closed last weekend. If you did not get a chance to hear/see my collaboration with Hasan Abbas, MD-Ph.D candidate, Duke University and the Shared Materials Implimentation Facility (SMIF), Duke University – here it is! The video plays twice and the whole thing lasts only a little over two minutes. For more on the concepts underlying the soundscapes, go here-> https://wp.me/p5yJTY-zm after listening.

iBoD presents FreeQuencies @Durham Makes Music Day

My cohorts and I are flipping the script from our usual way of play for Durham Makes Music Day this coming Friday. We have played together as iBoD for about 5 years now. I make soundscapes in Ableton Live, while Susanne, Eleanor and Jim add their own riffs and melodies over top. These soundscapes follow a more formal, songish structure. While we mostly improvise, the more we play a piece, the more we lock into parts, which layers in a more rigid form and stifles the improv. Too much structure calcifies creative growth, so time for a shift!

Under the influence of Moogfest and the work of Pauline Oliveroes, iBoD is exploring “all of the waveforms” and the means to transmit them. Susanne, Eleanor, Jim and dejacusse will provide the soundscape LIVE using voice, harmonicas, melodica, digital horn, recorder, flute and electronic modulations. In this way we will transmit a diverse range of audible waveforms as patterns of frequencies. These “freequencies” will permeate the larger soundscape that will surround us, altering the sonic environment in unusual ways.

Our location at M Alley/Holland Street (behind the Durham Hotel) means we will be in the thick of all the sounds of downtown Durham and all the outdoor music being made on Durham Makes Music Day. We will not be the loudest, but if you come down to where we are located, close your eyes, quiet your mind and open your ears, I guarantee you will hear something beautiful and amazing!

Friday June 21st

8:30-9:30 pm

iBod at M Alley/Holland St.

Synthesizing in Ableton: They are On It!

Well, my short-lived journey into configuring Ableton Live as a synthesizer has come to a halt with the purchase of a Behringer Neutron at Moogfest AND with the Ableton announcement that they are Beta-testing CV plug-ins for Ableton 10. I am soooo excited with this direction.

My experiments with creating modulation FX using “dummy clips” or Envelope Generators yielded some new directions for iBoD and dejacusse. We are experimenting with running live sound through the FX tracks and EG clips. This coming Sunday, we will perform The Place ReSounds of Water in front of the Central Park School for Children. Eleanor Mills will play The Bells, dejacusse will morph the bell harmonics into a watery pallette that Susanne Romey will play NA flute over top. There will be meditative movement and the pouring of water. Come join us!

Sunday May 19 @4 pm

724 Foster St @The Bells

Moogfest 2019

Being an introverted elder, I am no longer the festigoer I once was. One festival a year is enough for me and this is it! Moogfest is an incredible sonic universe that opens up in and around Durham, and turns my world upside down. This year was no exception!

There were numerous durational performances, sound installations and interactive opportunities. I was particularly excited to meet Madame Gandhi, who gave a fabulous performance at Motorco last year. This year she lead two sessions of interactive play at The Fruit. The set up included a Push, a Bass Station, a drum set, microphones for vocals and small percussion, and two synths! WoW! She wasted no time with alot of talk. We jumped right in and started playing. I really appreciated that! I played Push and did some vocals, but mostly listened. The group came up with some nice grooves.

This experience reminded me that I prefer solo or small group playing these days, and the energy of the experience was fantastic! Glad I showed up!

Durational performances involve a group or person performing for 2-3 hours solid with no silence. The 21C Museum Hotel Ballroom and Global Breath Yoga Studio were the venues for these works. For durational performances, I love to sit with the beginning and the end OR go in for the middle. Heard Richard Devine and Greg Fox perform the beginnings and endings of their sets. Always interesting to hear the different approaches the start and finish in the broad context of a durational performance. I would love to create a durational performance there someday…soon.

21C was my favorite venue this year. I heard a wonderful variety of soundscapes there in quad sound with excellent sound engineers, a beautiful light show and interactive screens on either side. The bookends of the weekend for me were Ultrabillons and TRIPLE X SNAXXX (local favorites). Both of these sets were incredibly satisfying to listen to. Big synths and bouncy modulars all around. What I come to Moogfest for!! In between there was Aaron Dilloway who gave an amazing embodied noise performance that was as much exorcism as anything else. Drum and Lace started her set with some whispy songs that all seemed to be the same short length, like 3 minutes or so. But then she launched into some beefier pieces and really took the space. She had some gorgeous videos behind her as she performed.

Cuckoo was so much fun and I envied him his tiny set up which he carried into the venue in a knapsack. At one point, he was playing a vampy section and said, “well, this is the point where I introduce the band!” and proceeded to show us the three small controllers he had routed together. He has YouTube videos, so I want to check him out. Here he is playing at The Pinhook.

Finally, I had a few mind-opening, inspiring encounters. Steve Nalepa pointed the way to route signal out of Ableton for quad speakers. He performed at 21C through quad speakers using Ableton. I always wondered why you would route tracks to sends only in the I/O menu. I havent yet tried this, but plan to soon. Then there was the Modular Marketplace! I delayed going till Friday and spent 3-4 hours there playing. As the WoW would have it, the modular unit Behringer Neutron was on sale for $100 off. I struck while I had a little cash flow. Less than a week later, Abe, Nuet and I played a beautiful primal soundscape for Audio Origami on Friday May 3 at ADF Studios @ 4:30pm.

Thank you, Moogfest! See you next year!

Synthesizing in Ableton Live: External Effects Pedal (fail)

Dear friend and compadre, Karim Merlin, loaned me a guitar pedal. He recently purchased an Earthquaker Levitation pedal, which uses delay, tone and atomosphere to mix a versatile reverb with lots of space to explore. Since I am moved to play all the harmonics through synthesized sound, a guitar pedal gives me a chance to experiment with routing hardware effects through Ableton. I was very excited to try it out.

The wind left my sails when I YouTubed for some supportive info and learned that, in order to get the signal from my ukelele/or vocal mic through the pedal into Ableton and out to auditory cortexes, I need a reamp box between the pedal and the sound card, and a preamp box between the soundcard and mixing board. This has to do with matching the signal out and the signal in to the same impedance. Signal routing is the great labrynth of synthesized sound in my mind. Signals can be sound energy, electrical energy, can be boosted, attenuated, colored, and fed back onto and through each other. And, when it comes to hardware, signals must match somehow. Something to do with the energy of the signal. This part eludes my understanding so far, and I am eager to grok it! And what better way then to simply play.

The NI Komplete 6 soundcard I use has phantom power, which amplifies the signal in certain microphones. The Behringer mixing board has several ways to elevate the signal. Perhaps these will suffice? When I ran the electric uke signal through The Levitation there was a little bit of signal and a whole lot of noise. I tried playing with it within Ableton to see if I could make the noise blend, but no. A vocal microphone sounded the best, but wasn’t a sound I wanted to cultivate. The YouTube guy may be right. I need to build an empire to use pedals through Ableton.

So I end up back in Ableton, playing with all their reverb configurations and making a few of my own.

And I am still wanting a few more 3D knobs and sliders. I am anticipating that my next big sound love may come my way this week via Moogfest!