This coming Wednesday, December 7 from 10 am to noon, you can hear the last Waves of Gratitude Full Moon Broadcast for 2022. Each month since January, I have streamed a 2 hour radio broadcast of iBoD/dejacusse pre-recorded soundscapes and LIVE Eurorack Synth improvs during the Zenith of the Full Moon. These broadcasts have been special times for me to share with whomever might be listening all that is in my heart. The improvisations involve deep listening and attunement and responsiveness in the moment! The pre-recorded soundscapes, sound sculptures and paintings are where I get to play with co-horts and co-create in The Field, or put together a more musical composition in Ableton Live. All of this sound activity sparks joy within me! I am deeply grateful to Eleanor Mills and Jim Kellough for their avid listening, playful company and interest in growing their ears. All of the soundscape for Waves of Gratitude 2023 came from recordings of our Tuesday afternoon sessions.
The cycles of the moon have always been important to me. From a young age, I knew I did not want to have children, so when my period came along, it was basically a monthly annoyance! Then in graduate school I explored Wiccan spirituality, which lead me to use the moon cycles to track my menstrual cycles, and I embraced that which had been annoying. All of this to say- in 2023 there will be a Full Moon Broadcast AND a New Moon Broadcast each month. I feel a sense of joyful nostalgia in once again attending to these anchoring phases of the moon that were so much of part of the middle years of this life.
This Wednesday morning broadcast will feature Waves of Gratitude 2021 and 2022, the full album Audiorigami: Meditations on The Fold, Carnatic Water Music, and other soundscapes. The time is 10 am to noon est. Here is the link:
I am creating a juicy ocean wave sound for Waves of Gratitude 2022. Yesterday the Behringer Nuetron gave up a sound like when a wave wumphs and then fades into a hiss. Pretty cool! And I got some gorgeous hissy wet ebb and flow from the Make Noise Strega (Thank you, Christopher Skully-Thurston for access to the Strega) In addition to sculpted sounds from The Field, the ocean wave soundscape for 2022 is a blend of sounds from numerous water sources including the Atlantic, Gulf of Mexico, Eno River, several outdoor fountains, and our home indoor fountain along with the sound of running water. Now those are sources to be grateful for and I am!
The Waves of Gratitude Full Moon Broadcast for May will stream as the Zenith and a total lunar eclipse occur nearly simultaneously. There is so much love here for us all! This is one of those moments when it is flowing in! To celebrate and lend voice to the flow, the soundscape Shadow/Doubt will debut. This piece emerged from the sound pieces I created for Libby Lynn’s 250 Degree encaustic art show in the Fall of 2013. I worked on Shadow/Doubt over the years since then, and now it is complete. The soundscape evokes in me a deep longing, and a sad satisfaction with that longing. The voices argue with what is, they try to explain, they try to understand. Interwoven throughout is a voice of comfort. This is a place I am familiar with, but do not visit as often as I did in my youth.
My first version of Ableton Lite Digital Audio Workstation was purchased in 2009, so I have been soundscaping for over a decade. I have lots of soundscapes to share with you! In April’s Full Moon Broadcast, I released a 30 minute set of completed soundscapes. Most of these pieces were composed in the Ableton Live DAW with the intention that they would accompany something else – like a dance or a film. They are soundtrack soundscapes- each one contains a story, actually many stories just waiting to be brought out by the proper pairing. They all stand on their own as well.
And there will be LIVE IMPROVISATION from The Field. The Field is my modular synth configuration, which I am privileged to sculpt and play with. Feel free to play along with whatever instrument you have available! And remember to stay out beyond ideas of wrongdoing and rightdoing – just listen and play!
Here is the link to the webplayer which will be live from 11pm May 15 to 1am May 16. The Zenith is at 12:14am and the eclipse is 12:11am:
Studying the effects of waveforms in a sonic environment and transmitting those waveforms to audio cortices is a mission of iBoD. To that end, we have partnered with three synthesizers to explore the ways of waveforms. First came the Behringer Nuetron, which is a puzzle and a playful soundshaper. My first challenge was (and continues to be) getting sound out of it (VCA Bias and Overdrive Level knobs need to be wide open.) Nuet has lots of internal routings and moveable parameters including blending between oscillator waveform shapes, and multiple LFOs and VCFs. Next came the Moog SubHarmonicon, which is extremely fun and responsive and more intuitive. These two are “tied” together by the Make Noise O-Control, which serves as a sequencer for Nuet, and receives clock from Moogie. So that is my crew for this event: Nuet, Moogie, OC and me.
Using internal and external routings, iBoD explores the shifts in timbre and rhythm presented by the synthesizers. These instruments make sound from oscillating frequencies shaped by waveforms and envelopes, which are the basic building blocks for timbre (and EVERYTHING, but THAT is another story, which can be read in the links below). All of the action is triggered, directed, and massaged by control voltages. Sparks of electricity drive the whole show, which makes for alot of unpredictability and maleability.
A friend asked me “What is timbre?” Yes, we are all familiar with rhythm and melody, but timbre is a kind of behind the scenes aspect of musical sound which isn’t as easily apprehended because it is so essential. Timbre is the “dna” of sound presented in harmonic code. Our brains decipher these codes so we can discern a foghorn from a racing engine from a baby crying. Please read these previous posts where I offer my understanding of timbre:
So that is what I will be playing with on Saturday. Since my favorite part of symphony concerts is the settling in and tuning that the orchestra does before they start the program, Timebral Artifacts will begin with some tuning and retuning of parts, followed by propagation and meanderings until an undercurrent of structure appears. When this happens, I will play Native American flute in call and response play with the synths.
iBoD will play from 2-2:45 pm. See map of Sculpture Garden for exact location (2a)
The data used in RISE: Sonic Sketches of Sourdough Cultures is depicted in the graph you see below. This is the Optical Density growth profile over a 48 hour period for the 8 most prevalent strains of yeasts and lactic acid bacteria (LAB) found in The Sourdough Project’s 500 starter samples. Using these data defined shapes was suggested by their similarity to the motifs of Terry Riley’s In C, a piece that continually shapes and sharpens my appreciation of timbre and harmonics.
This data set turned out to be less important in the great scheme of the final Sourdough Project paper, however by assigning chromatic pitches to the OD levels from the lowest measured amount (.0867) to the highest amount (.8816) among all 8 taxa, a unique motif emerges for each one. The intervals between sampling points/tones reveal the growth rate and expansiveness of each taxa. The notes at each sampling point when strung together create a pentatonic pattern spread out over four octaves that will be the sonic profile of each strain of yeast and LAB. Here is an example of the motif for L Sanfrancisensis, a lactic acid bacteria common to sourdough starters.
There were 40 density amounts over 4 octaves, so 10 notes were needed in each octave and two notes had to go. Leaving out C and F in a scale with G as the fundamental pushed the scale toward more dissonance, which helps to create the “sour” part of the sound. The chromatic scale runs from G0 to G5 (the scale runs from G0 to F#4, and then jumps to G5. G5 is heard only in W. Anomalus). Here is the piece that introduces the yeast voices and pattern profiles – String of Yeasts
The LAB voices are horn, synth, brass and a plucked resonant instrument. LAB do not reach levels higher than .5 on the OD scale thus are lower in pitch class range overall. Several of the yeasts soar into the 4th octave, but the LAB all stay in the 0-3 octaves as they grow slower and less abundantly.
And then there are the Acetic Acid Bacteria that have not received much attention in previous research. One of the findings of the Sourdough Project is that highly variable abundances of AAB are a key driver of functional diversity across the 500 starters in the study. The AAB also contribute heavily to starter aroma. In the soundscape AAB will take the form of sculpted noise- mixing various shades of noise with audio of watery bubbling sounds. And since AAB are drivers, percussion will be used as well. The primary AAB, Acetobactor Malorum, is represented by a polyrythmic frame drum statement.
The Yeast and LAB sonification profiles are what I call “data-driven” in that specific data points have been used to depict each Yeast and LAB voice. The AAB sonification is “data-derived” in that the use of percussion as a driver, of burbling, watery sounds as fermentation, and of post-soundscape frequency artifacts as VOCs were all suggested by descriptions of AAB in the published paper.
Three individual starters were sonified for the album. SD_522 was chosen because it may demonstrate the impact of Acetobacter Malorum on functional diversity in starter microbiomes. This starter had 6 of the 8 articulated taxa in measurable amounts and Acetobacter Malorum as the primary AAB. SD_131 contained Acetobacter Malorum and hit 4 of the 6 aromatic notes, so the last 30 seconds of the soundscape are the audio artifacts representing volatile organic compounds (VOC). SD_299 was chosen because it is mostly LAB and DOES NOT have any S Cerevisiae and very little AAB. This allowed me to play with a very different sonic pallette from SD_522 and _131.
The album is available March 30, 2021 on Bandcamp, and within the month on all other music platforms! Thank you for your support!
Glenna Batson and Susan Sentler have continued their exploration of the visual-somatic signifigance of The Fold through a number of intensives and workshops on-line during the last year. I attended a weekend intensive and found it to be an amazing healing experience which drew people from all over the world. I enjoyed participating in their Deep Dives. Since sound is so compromised on Zoom, sharing of sound explorations in The Fold has not been possible. Until Now!
About a month ago, a new sound folding idea was suggested by Cathy Moore, who has attended a number of Human Origami Jams over the years. Cathy is a retired lawyer, community activist, and dancer. She also lives with Parkinson’s Disease – actually she dances with PD. Cathy is interested in the science of Parkinson’s and some recent research suggests that one of the factors in PD is misfolded/clumped/entangled proteins at motor synaptic junctions. These alpha-synucleins are responsible in part for triggering and stopping movement, both of which are hallmark PD symptoms. So Cathy suggested we work with the idea of entanglement.
My own felt sense is that entangled folds might feel crowded and tight at first. We are enmeshed in a network of folds where beginnings and ends are less clear and accessible. There is some holding/resistance in entanglement that constrains the fluidity of The Fold. The dampening of movement creates more stability, perhaps? And while there is a sense of being caught up in entanglement, there are many nooks and crannies to be explored as well.
The soundscape begins from a place of deep muffled constraint around which arises a whispy buzzy drone. The journey of the soundscape is to explore and release/cut through constraints. Entangled strands of sequences evolve and emerge from the muffled sound. They dance and resolve or dissolve as the muffled sound is released.
On March 20, 2021, a group of us met on Zoom. Thanks to Zoom audio improvements and YouTube assists, the soundscape had fidelity and was mixed with Glenna’s voice in a way that carried our intention across the ethers. The participant feedback after the dive indicated that many people engaged with and allowed the sonic/imagistic landscape to enter their worlds and bodies. While each person articulated their own unique journey through the dive, the one common response from most everyone was experiencing “release” and “letting go”. WoW!
With Glenna’s permission, here is an excerpt from the recording of our dive into and through “entanglement”:
Carol Vollmer’s glyph above was in response to Glenna’s prompt to “doodle” after the dive. The discussion was rich and heartfull, and so much wisdom was shared. I was honored to explore sounding The Fold with this community of curious and insightful people.
If you follow @thepinkladyapplehouse on Instagram, you know that Justin Holt plays many instruments, lays down bucket loads of recorded sounds each day, and can shape these sounds into incredible cascading sonic impressions. In the picture above, you see him taking spaceship Earth out for a spin last summer! In his latest release, Junk Tape Vol 2/UFO Mixtape, The Pink Lady Apple House beams cosmic light and stirs quantum fluctuations into satisfying sonic landscapes.
My favorite track, Delighted, features a conversation between electric guitar in the right ear and Moog Grandmother in the left over a lumbering drum and basswith lots of fun percussive frills. Fashion is constructed of layers of blips, bloops, twitters braided together with a driving drum and bass that gradually lose their clarity as more harmonic content is added to the mix till all finally gurgles away. Listen to Star Map and you will know all the places he went on those summer cosmic explorations.
The Pink Lady Apple House sound draws some comparisons to the free jazz of Medeski, Martin and Woods and Sun Ra Arkestra. His process plays off of Brian Eno’s “The Studio as a Compositional Tool “as he works with reel-to-reel tapes and often plays the mixing board in real time. Justin’s playing of the Roland SP 404 is phenomenal and figures prominently on this album, along with the Moog Grandmother. TPLAH creates soundscapes of layered, lo-fi sounds that dance in/out of tune and time while merging and modulating each other in surprising and delightful ways. They sound full and interesting through headphones, iphone speakers and full sound systems.
Listening to Junk Tape Vol 2/UFO Mix Tape reminded me of a Tom Wait’s music video where he was herky jerky dancing and singing a raggedy melody, and it was so fascinating and beautiful in an off-kilter way, a realization of awkward grace! You will hear that same level of energetic, animated, awkward grace on The Pink Lady Apple House’ Junk Tape Vol 2/UFO Mix Tape available now on Bandcamp: thepinkladyapplehouse.bandcamp.com/album/junk-tape-vol-2-the-ufo-mixtape
Recommended for deep listeners, resonant advisors, and all explorers of the timbral Universe!
iBoD is producing a pop-up sound installation which will have its first expression as part of SITES: reset on Feb 27 2021 at The Accordion Club Durham. The soundscape for this installation will be recordings of people giving thanks in whatever language, in whatever tone of voice feels genuine and right. These voiced gratitudes will be mixed into a sound collage with ocean waves and played through many small speakers. As this wave has evolved, there is now room for recorded gratitudes of all kinds. People are sending songs, chants, electronica, field recordings. All deeply heartfelt expressions of gratitude are welcome!
We are gathering gratitudes from all over the world. No matter how difficult times are, there is always something to be grateful for. My Mother taught me this life lesson, but I resented hearing it as a child. I felt entitled to cling to and suffer all my disappointments and sadnesses. In recent months gratitude goggles have kept me alive and in the moment!! In addition, this time has helped me realize how often I have been ungrateful in my life, and I want to begin again with greater gratitude and love. Since I observe that oscillations/waveforms create reality, Waves of Gratitude is the vibrational reality I desire. I would love for your voice to be a part of it! Record your invocation of gratitude and email the audio file to firstname.lastname@example.org.
For best sound quality, record indoors in a quiet space with little to no background noise.
Use Voice Memo recorder on your smart phone, when finished tap the Share icon (the one that looks like a three-sided box with an arrow inside.) Choose email, and send to email@example.com.
If we are friends on Facebook Messenger, you can send a recorded message. Message me, then tap the icon to the left of where you type the message, this will open a small window where there may be a + or a microphone icon, tap the + and you are recording, when finished, tap the large paper airplane arrow to the right of the message box and voila! your gratitude is delivered.
In addition to the installation, dejacusse will broadcast the waves over Radio iBoD/dejacusse at specified dates and times TBA.
Email me if you have questions and spread gratitude with us in 2021 and beyond!
The Sourdough Project data is finally starting to sing!! The paper, The function and diversity of sourdough microbiomes, is on the verge of being published and I have completed 3 pieces for an album of soundscapes based on the data and findings of the paper.
A little over a year ago, I started working with the Optical Density growth patterns of the 8 most prominent taxa in the 500 starters. Here is a link to the blog post about this idea:
Recently I revised the scale to be a multi-octave expansive scale and aligned the 40 specific growth data points with notes on that scale. Each yeast and LAB (lactic acid bacteria) now is expressed as a multi-octave pentatonic pattern. Here is the final version of String of Yeasts which will introduce the four yeast voices on the album RISE:Sonic Sketches of Sourdough Cultures to be released in March 2021. This piece features K Servazzi, W Anomalus, K Humilis, and S Cerevisiae.
Eight months ago, the Elektron Model: Samples became part of my sounding board. (Here is a blog post about some preliminary explorations- https://wp.me/p5yJTY-Ch) When the MS started having key sticking issues, and the Global Reset rendered repairs inaccessible, the sounding board landed in limbo land. During this dreamy time, I realized/remembered that I want to play Control Voltages. The MS is a audio/midi device that can sequence synths that accept digital signals. CVs are another realm entirely! Although many synths can be stimulated by both types of signals, the depth and breadth of CVs is unparallelled to my ear.
Thanks to the flexibility of Sweetwater Music and the take charge attitude of my Sweetwater Sales Agent, Paul Allen, the MS (and a little cash) was exchanged for a Make Noise O-Control!! FINALLY, I have a voltage controlled modular set up as I pair this sweet thing with the Behringer Neutron!! Here you have it:
Today is the fifth day of play with my mini-mod, and I am happily patching, playing, studying manuals and/or Patch and Tweak, and deeply listening. Here are some sound samples from my first week’s play.