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!
TODAY, April 18th, iBoD is taking Durham to the National Water Dance! At 4 pm today, Jody Cassell will dance with the trees, the breeze, the sunlight and the water to iBoD’s Carnatic Water Music. The original plan was to create a watery container of sound, projections and flora through which Jody Cassell would lead the movement. Several other dancers including some of Jody’s young dance students were excited to perform this event at PS 137 in downtown Durham. Well, you know what happened! With so many cancellations, NWD leaders decided to go ahead with the dance as a streaming event. We will have Jody dancing to iBoD’s Carnatic Water Music at 4 pm this Saturday on Instagram Live from the safety of her home.
Here is some background on National Water Dance drom their website:
National Water Dance is a catalyst that encourages ongoing engagement between dance and the environment. Beginning in 2011 as a statewide project in Florida, it now boasts 65 locations across the United States—in 2018 including Puerto Rico for the first time. With each event National Water Dance recommits itself to the effort of increasing purposeful awareness to drive action on environmental issues, specifically climate change. Supporting the work of participants beyond our bi-annual event, National Water Dance spreads the word on the environmental issues they are tackling through monthly newsletters and social media. Our goal is to realize the power of dance as an engine of social change.
In the spirit of this mission, Jody suggests, through her movement choices, elements of this “engine” that are not as visible as issues. Stillness, slowness, wonder, and (dare we say it!) JOY in being right here and right now and moving! The soundscape Carnatic Water Music articulates and ensounds a few of the ways that water can move! To hear the entire piece go to Bandcamp/dejacusse.
As this large group of dancers in 65 locations across the country create a wave of healing energy directed toward Earth and Water, your attention will amplify the energy beyond all possibilities.
Join us for a five minute healing prayer on Instagram (@movinggrace) or through the National Water Dance Website. If you cannot join us at 4, please bear witness to the dance on Instagram TV. Now, more than ever, it is important to mind what we ourselves are giving our precious time and attention to!
Susanne, Eleanor, Jim and I have been soundscaping together for 5 years now. During that time, we have all grown as deep listeners and sound painters. I am grateful to play with people who can tune into the sonic environment, their own voices and play the waveforms. We are soundpainters not musicians. Sometimes even we get confused.
The first time we played together publicly was at the Won Buddhist Temple Bazaar in October of 2014. And the first piece we played was Carnatic Water Music. (This soundscape is based on a Carnatic Indian scale that is included in Michael Hewitt’s book, Musical Scales of the World.) We played over and around what is now the first section of Carnatic Water Music while the rains poured down! We were actually in a tent, but the Zoom recorder was out in the rain with a raincoat over it. The recording has rain patter on it, which sounds like scratches on a vinyl record. I really like this recording! (We appreciated the company of Linda Carmichael singing/playing ukelele at this event.) Here is an excerpt:
After this performance, we played CWM frequently at public events. This is a long-form soundscape that we play for 20 to 40 minutes. As time went on, I added some new sections to the piece so the players and listeners would have greater variety of the sonic spectrum, and to vary the pace a bit. Now when I listen to Carnatic Water Music I hear different energetic aspects of bodies of water, from lolling rivers to waving oceans.
The next stop for CWM will be as the main theme for The Space ReSounds of Water, a pop-up dance installation to be performed on April 18th. The performance is Durham’s offering for National Water Dance 2020. Here is a write-up about the event:
Since 2016, National Waterdance has brought attention to water issues through synchronized dance performances in multiple locations. iBoD and dejacusse want 2020 to be the year the Triangle joins the dance.
The Place ReSounds of Water is a sound, dance and visual art performance piece conceived and performed by iBoD in 2019. We would like to expand on the piece by creating The Space ReSounds of Water, a space/container with video projections, and with healing flowerscapes by Hana Lee, a soundscape by dejacusse and iBoD, and dance movement by Jody Cassell. The performance will take place as a part of the National Waterdance event on April 18 2020 at 4 pm.
The performance will run from from 4-6 in a space where the audience can come and go. This is a meditative performance that can be engaged with on many levels. While some of the movement may be choreographed, most will be free flowing improvisation the audience can participate with. Outside the venue, we will invite local water and environmental organizations to offer education and actions we can take to protect our waters.
To prepare for this event, we are making a really good recording of Carnatic Water Music. We have played this piece so many times, as soon as it begins we fall into a lovely sync with the soundscape. We are recording in the SunRa Room, which is a lively, if not acoustically perfect, space. As of now we are playing through the soundscape and recording on a separate track each time. Afterward, I mix the recording and put it out dor feedback from the group.
Last week, I recorded one runthrough into a track in Ableton and the second runthrough into a track on the H6n. The Ableton track had the most presence and was easy to work with in the mixing process. The trick is to get the right balance between our live playing and the looping soundscape. Today I discovered several recordings we made through the H6n- might be able to tuck some of those in the mix somewhere. We did our final two takes last week, so now I go to work in earnest!
One of the several works-in-progress happening as Winter sets in. Come Spring, iBoD will release Carnatic Water Music as our first extended play download!
Lisa bought a new guitar! A John Suhr limited edition commissioned electric guitar signed by the maker in a faux alligator hardshell case. The top of the guitar is quilted maple and looks like rippled water. Lisa bought the guitar because it’s voice eclipsed the sound she was carrying around in her mind. She said she had this jazzy sound in mind with rhythm (swingy, danceable) and a clean, clear tone when plucked (like George Benson). The Suhr guitar has a lovely tone with crisp, clean edges and bell-like shape. The sound the Suhr guitar planted in Lisa’s earbrain is more “New Agey”
A few weeks back, I sent Lisa a thumbdrive with recordings of our sessions since June. She reports that the recordings were not helpful to her as she couldn’t pick out her voice from the whole soundscape. This is good to know- the recordings give me a lot of information, but not so for Lisa. I know she listens to music by turning it up very loud in her home, so I asked if she did the same with the session recordings. She explained that she has sound reference files in her brain that pick up on familiar patterns associated with the song she is listening to. Without these references, Lisa is less able to make sonic sense of what she is hearing.
Our September 28 2019 session focused on the new guitar and what it brings to our pallette. And we played in a different relationship today. Instead of Lisa’s guitar through the Neutron, we played on separate channels. Lisa wanted to hear her new guitar clearly since she is just learning it, so I played the Ripplemaker through the Neutron. In this configuration, Lisa leads the way, while I bring interesting underpinnings into the mix.
Listening back to the recording, I think this is another way for us to play together. Our collaboration becomes more like intermingled solos, so the impact of our playing together is indirect rather than direct. Our voices are tandem rather than merged, and we can respond to each other. One question is how to create useful audio reference patterns for Lisa? She said that she couldn’t hear the recordings in the thumb drive because they were too removed from what we are doing currently. So it seems possible that if she listens to a recording from the most recent session, she could create new reference files. We will try this out.
The October 5 session is when things came together. Lisa brought another guitar – a 17″ wide arch-top Kay guitar which she describes as the kind of guitar you would find in the Sears catalogue in the 1950s. She played that and the Suhr while I created morphing streams of sound sequenced by Ripplemaker and modulated by Neutron through Abejusynth Station modules. The quality of the sounds of the sequence can be altered within the Ripplemaker, then in the Neutron. Then the audio signal from the Neutron goes through an Ableton audio track, which can then be sent through and altered by the Abejusynth Station AAC/EG modules. (For more info, go here: https://wp.me/p5yJTY-vL). Any of these Ableton tracks can go through delay send and a reverb send. So there is a whole lotta modulating going on!!
After our October 12 session, I am very excited about our playing as intermingled soloists at 919 Noise Showcase on October 30. We ran ourselves through my Roland Eurorack mixer (Thanks, Jim!) so I could balance the sound. Then I recorded into 2 H6n tracks and in the room. We decided to start with a wave of sound and then whittle it down. I was not sure this was working, but listening to the recording, I decided we need to just listen close and have faith that it IS working.
Here is a mix of the 2 H6n tracks AND the room recording. This seems like an interesting way to capture sound recordings in the SunRa Room. That said, this mix has too much synth and not enough guitar, and we will fix that so the blend is better in the future.
Ever since I saw Caterina Barbieri at the Pinhook during Moogfest 2018, my deepest desire has been to dive into the sonic sketches/sculptures/landscapes of modular synthesis. Caterina’s album title, Patterns of Conciousness, says it all. This sounding out of the electrical impulse that is at the heart of sonic events has become my spiritual practice, my way of hearing and understanding the world, my container of wonder!
The world of modular synthesis is dense with creative pathways and quite expensive, so I decided to start with what I have – Ableton Live, my soundscape companion for 8 years. For a while, I worked on creating Audio Animation Clip/Envelope Generator modules. This can be done by animating effects within muted audio clips so only the effects are heard, and then routing audio through the clips from a source track. The source audio is then modulated by the effects in the AAC/EG track. I used this for The Space ReSounds of Water to capture and modulate the live sound of the bells. Here is an example:
Then I bought my first hardware synth – a Behringer Neutron. This synth had great reviews, it has knobs and patchbay, and can be sequenced by Ableton. Ableton is beta-testing a pack that allows the DAW to play Control Voltages. I am not sure how this works, but it involves having an interface that is DC-coupled. And this will be for Ableton 10 Suite users, which I am not yet. All of this to say, I have not been successful at getting the Neutron conversing with Ableton via midi. I have had success with the Neutron by running audio signals through the input with the VCA bias knob all the way open. This worked out well as you know if you heard our All Data Lost performance!
Before the Behringer, there was Ripplemaker iOS semi-modular synth, which I have played with for a few years now. We are old friends, and I can sit down to a fresh template on Ripplemaker and get going immediately with cool sonic relationships. This app will teach you about synths in a deep way. In the beginning, I referred to the manual constantly, but now it is easy to just jump in and play for long periods of time. Here is a recent soundscape performed on the Ripplemaker to accompany Jody Cassell for the last PROMPTS at The Carrack.
Now the fun begins! After some experimentation, I have cobbled together my Frankensynth. I begin with sequencing in the Ripplemaker, which provides the audio source for Neutron. So we have an iOS synth and a hardware synth playing together. Then the audio from the Neutron goes through a track in Ableton. Seven additional tracks in Ableton are each running AAC/EG effects and receiving audio from the track carrying the Neutron. So the Ripplemaker/Neutron generated audio will be heard through whichever AAC/EG track’s volume fader is up. So these three synths (Ripplemaker, Neutron and Abeju Synth Station) are sitting inside each other like nested dolls. Here is a sample of how this can sound: (recorded in the SunRa Room on a rainy day!)
I am very excited to play this setup with Lisa Means on guitar at the 919 Noise Showcase on October 30th at The Nightlight Bar in Chapel Hill!!
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 be 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.
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!!
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!