National Water Dance 2020

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!

Amplify the healing wave!

Sounding Board

My curiosity about sound is completely engaged by exploring modular synthesis. So far my understanding is often inarticulate and mystified! But thanks to Suzanne Ciani, True Cuckoo, Andrew Huang, Ultrabillions, Hark Madley, Lisa Belladonna, Caterina Barbieri, Moogfest, Bram Bos, and Kim Bjorn’s book Patch and Tweak, I am evolving a different way of creating soundscapes and perceiving the world. This is the stuff of life! Waveforms modulating waveforms, waveforms shaping waveforms, waveforms reflecting, refracting and bouncing around and through us. Energetic matter begins and ends on a wave.

I am focusing my Artists Residency here at home on improving my mixing skills and building a sounding board. The mixing skills are put to the test making the recording of Carnatic Water Music that iBoD will release in the next week. As I mixed this recording I received helpful suggestions from tutorials by Jason Moss, HarkMadley, Mathew Weiss. These skills are a forever work in progress. As for the sounding board, there are currently three main ingredients: Elektron:Model Samples as main sequencer providing beats/patterns and midi triggers to the Behringer Neutron. Audio out from both of these units into Audio Tracks in Ableton Live. Ableton will provide drones, loops, and AAC/EG clips which can process audio from either unit. I can do Master recordings in Ableton as well.

Even though I want a modular system, I will work with what I have now, and learn, and be ready when my modular system appears. (Make Noise modules are the ones that I want- doo doo do do)

The Model Samples and I are getting on fairly well. I am learning the architecture of the menus, watching people perform with it to see what key combos they use, and setting up some patterns. The samples available “in the box” are very cool and I am curating my own samples as well. Every sound is potential material so it is daunting.

The past few days, I experimented with some patch ideas in the Behringer Neutron. I have gotten alot of growling out of the synth, but no sound that I liked. There is one simple patch I use: the Sample and Hold into Delay Time. When the Delay Mix knob is raised and the S&H knob is turned up, there are lots of odd, random pitch artifacts that I enjoy hearing. Today I patched the Osc Mix into a Mult, then ran Mult 1 to the OD(overdrive)IN, and Mult 2 to Pulse Width 2. Tuned the oscillators to consonant pitches. Slowly turning the Osc Mix Knob opens a whole realm of timbres. When the OM knob was all the way to one side the tone could be made clear and bell-like. With the Oscillator shapes in the square or tone mod shape, the Pulse Width knob seems to act as a filter.The Mod Depth and Envelope Depth can be brought in. This is where I am not sure what is happening – there are changes in the timbre of the tone from the synth. And what exactly is depth? There is alot to play with depending on where the Osc Mix dial is tuned in.

The third part of this is creating Audio Animation Clips/Envelope Generators within Ableton. Envelopes shape the amplitude and modulate the pitch of the sound. Audio Animation allows the Envelope parameters to move over time. Here is the post on how audio animation can be created in Ableton: https://wp.me/p5yJTY-vL I use filters to sculpt out harmonics and add texture to the sound of the Model Samples or the Neutron. So far, I am experimenting with banks of filters to sculpt out or boost particular harmonics then perform a finer tuning with some EQ. I am listening for a diverse sonic spread, then tuning it in, then spreading, and finally fine tuning.

The adventure continues!!

National Water Dance – NOT Cancelled

With all of the rescheduling of public events local, national and global, there is one event that will go on next month. National Water Dance 2020 will happen as scheduled on April 18th 2020 at 4 pm EST. This biannual movement choir in honor and healing of water will take place across the country all at the same time and streaming across the web. This announcement came from NWD last week:

WE ARE STILL DANCING! Wherever you are on April 18 at 4:00PM EST, alone or self-quarantining or with a small group in an open space, we will begin with the shared gesture and end with the shared gesture and your personal movement will fill in the middle.

We are fortunate to be living in the digital age – as we are asked to observe *“physical distancing,” we are able to close that distance by linking together through social media.

This challenge is forcing us to re-evaluate what we are doing and how we are doing it. Let’s find that deeper meaning in our dance, whether in a group or alone. We can dance wherever we are and livestream it on Instagram and Facebook. 

More than ever the world needs our hope and energy. Let’s move forward together and flood the social media networks with our dances on April 18th.

My crew at the idiosyncratic Beats of Dejacusse (iBoD) had big plans to create a watery like container at PS 137 with live plants and flowers by Lee Moore Crawford, and space for movers and viewers. Now we have constrained as we must, so will feature Jody Cassell as Durham’s National Water Dancer streaming live from her home. Jody will move to a recording of Carnatic Water Music, which will be released by iBoD on Bandcamp in April a week before the event. We will keep you posted as to how to link to the performance and pre-order the digital EP.

Mark your calendars for Durham’s National Water Dance April 18th at 4 pm.

Covid-19 DNA Remix

In the midst of everything going viral all around us, my friend @abstracta.audio pointed me toward Eric Drass’ sonification of the DNA sequence of the Corona virus. The National Institute of Health has released the transcript of the sequence, which can be found on their website https://www.ncbi.nlm.nih.gov/nuccore/MN908947.3 Eric, who makes all kinda wild art at Shardcore.com, assigned note combinations to each letter of the genome sequence (ATCG in various iterations) and you can listen to it (and upload the midi file) here: http://www.shardcore.org/shardpress2019/2020/02/28/the-sounds-of-covid-19/

I am fascinated by his process and hope he will give me an idea of how he did it. I am very interested in using notes/pitches/frequencies to sound out data. Eric created a 16 note scale. The top four notes and the bottom four notes are the same notes one octave apart. The eight notes in the middle do not repeat. Each measure of the midi file has 4 beats, the first beat has 2-3 notes stacked, then these notes repeat singularly over the 2,3,4 beats. How this relates to the DNA sequence I have not figured out.

Anyway, my remix begins in the middle of the midi file. There are five voices assigned to voice the midi notes. Percussion, pizzicato strings, and some other odds and ends of sonic dross. I slowed the bpm way down to 100. The piece sounds mincing, impish, serious and ominous in places. AND, you want it to end before it actually does!

Have a listen – it runs a bit over 6 minutes.

Covid 19 Remix Eric Drass

Early Explorations into Elektron Model:Samples

Sometime in November/December 2019 my earbrain decided we need a sequencer for the Neutron. While I was successful in getting Ableton to communicate with Neutron, I had to use the NI Komplete 6 audio driver, which seems to cause occasional sound dropouts, and feels like an unreliable set up to me. Anyway after extensive research, I settled on the Elektron Model:Samples. While it is geared toward creating drum patterns with 6 track pads/sample containers that can play patterns 1- 64 beats in length, I am hoping to explore its sound design/soundscaping capacity in addition to beat-making.

The Model:Samples uses buried menus, which I was not sure I would enjoy. I understand that the Elektron Digitakt has a deeper and more extensive menu listing. The M:S has just the right amount of menu diving for me. Most of the effects knobs are dedicated and can be modulated per track AND per trigger as well as over the whole pattern. The most any one of the buttons does is 2 or 3 functions. The deepest menu is the samples menu. I want to spend some time getting to know the cool samples that came with the M:S. However, I have spent most of my time with M:S creating and loading my own samples.

As example, one sound clip of a plaintive horn riff became the one and only sound used in a pattern called Plaints. By changing the start and end point of the sample, varying the delay amount, frequency cutoff and reverb time within each track, each one sounds different from the others. I played with this at The Shadowbox Sessions in January and now want to do more with this pattern.

Elektron Transfers is the software for loading samples into the M:S. As I collect and curate samples, it seems best to organize them into 6 pack folders. This way I can load a whole folder into a saved pattern slot. I have not yet figured out how to see the samples that are already in the box. Samples can be deleted through the M:S menu. Samples can be changed out while playing, which is a very cool feature. A pattern template can be completely transformed while it is playing by placing a different sample on the track.

One thing I am interested in exploring more deeply is setting effects modulation on specific triggers in the pattern. As example, the first trigger could have a low pitch with a LPF and heightened resonance AND only play 25% of the time. The 14th trigger might be a higher pitch with delay and feedback. These two sounds will express so differently yet they are coming from the same track sample. Wild! This is the arena of creating sound PAINTINGS! How to orchestrate sounds within a grid pattern and NOT have them create a groove? How to use these parameter locks to create a moving and changing “pattern” within a fixed grid of 1 – 64 triggers/beats/notes.

My challenge this week is to work with this idea in preparing the soundscape for the Human Origami Jam this Friday January 31, 2020. First, what sounds do I want to explore? Then, how can these sounds be triggered and mixed into a morphing pattern that does not sound like a groove? I will report back next week as to how this has developed.

If you have any interest in Elektron Model:Samples, I highly recommend True Cuckoo’s tutorial. I watched this multiple times before the M:S arrived, and was able to jump in and make stuff immediately.

iBoD – Playing by Ear with Lisa Means: Hearing the Ethers

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!!

Kayguitar4blog

Oct5Session4blog

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.

Playing by Ear

Come and hear us play the ethers at 919 Noise this Wednesday 10/30 at 8:30!

Frankensynth

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!!