Modular synthesizing in Ableton Live

Even though I have worked intimately with Ableton Live DAW (Digital Audio Workstation) for over eight years, I KNOW I have only scratched the surface of its capabilities. In the last few years, I have come to think of Ableton Live as my “instrument”, my medium, what I create with. What an incredibly rich and mysterious instrument it is! Now I am enamored of modular synthesis, striving to be come engaged with modular synthesis, particularly Eurorack modules. I love the knobs and sliders, and the patch cables just put me over the top. Modular synthesis is like sonic legos, a form of prayer, and a particular patterning of vibrations that matter. I want to plaaayyyy!!

This is the 2019 plan: spend time researching, listening to and playing modular units. I am learning about how modulars work by playing with the Ripplemaker ios app on iPad. Ripplemaker is a semi modular synthesizer which means that some of the signal routing is already patched together. Ripplemaker contains five modules, an LFO and amplifier/mixer, so it is a good basic learning tool. In addition I am studying the book Patch and Tweak which just came out a few months ago. It is a comprehensive survey of modular synthesis from the basics, to the gear, to the practitioners. I bought the book because it contains an interview with a performer whose work I admire tremendously, Caterina Barbieri. The book is a treasure trove of information that I am studying every day. The write ups about all the major brands and models of Eurorack synth modules is amazing. While Patch and Tweak could pass as a coffee table book, it is a bible to me. While doing all of this, I will save the money to buy my first modular synth unit. This could happen at Moogfest, or sooner depending on the progress of research and saving.

As for now, I have invested alot of time and money in Ableton Live and my computer set up, which is essentially a soft synth – I just need to configure it as such. Up to this point, I have treated Ableton as a composition tool/recording studio for the most part. I have been performing with Ableton and learning how to use the control surfaces (Novation LaumchPro and AKAI Key 25) to create soundscapes in real time. Now I want to configure and play Ableton more like a synth. This new approach will mean I have to deeply learn all the audio effects in Ableton, and other external plugins. I can configure the control surfaces to function as synth controls by mapping the parameters I want to sculpt with to the knobs and sliders of the control surfaces. The rest is signal routing.

Ableton Live is so robust and complex that the signal routing possibilities are numerous. Audio effects can be placed on tracks, within tracks routed together through a group submix, within a clip, within send/return tracks, on the Master track. Then within the larger set, tracks can be routed to and through each other using the in/out sub menu embedded in each track. So, with this in mind, how can I create control voltages, oscillators, slopes, envelopes, LFOs, Noise, and other modulators and configure them and play with them within Abelton Live?

The journey begins…

*photo of basic Auto Filter from Ableton Live Manual

Minding the Oscillations

Reading deeply into sound, physics, chemistry, and nuerobiology, it becomes clear that lived experience is comprised of waveforms modulating each other. These waveforms weave around and through us. The waves are different frequencies and different amplitudes, they have different shapes and resonances AND they interact with each other, all of which creates various densities of matter. As extreme examples, there is a diamond and a thought. These extremes define the boundaries of material experience – the hatd shell of the matrix we exist within. There is more beyond these boundaries, and the more seems to be the field of conciousness.*

With this as a basic understanding, it is my intention to mind the oscillations, particularly those that eminate from my human being/my earth suit/the event horizon of my world. The waveforms I conjur come into phase relationships with themselves and with the waveforms of other human beings as we event our common reality/the hard-shell matrix. This is an amazing realization! This realization sheds light on a major question I have danced with in my life:

How can I be more loving? So much of my living is spent seeking love from “the world”. That was my quest for the first half of my living experience. While it does hurt so good, I finally realized the question is framed in an unhelpful way. So I am moving from how can I get more love, to how can I be more loving?

My most important practice for exploring this question is awareness and presence in the moment. We have been listening to Eckhart Tolle go on and on about this. He works very hard to articulate awareness/presence in all the ways that might possibly bounce around (or cut through) the mind. Listening to ET, I am aware of the trinity of self, egoic mind and conciousness all walking into a bar. (It is a good practice for them to stick together, although the bar was probably egoic mind’s idea.) These three are waveforms of their own, and their interactions eminate into manifest world! These two thought-fields (waveforms of matter and awareness through being) intersect at my heart.

One definition of oscillation (from physics) is

regular variation in magnitude or position around a central point

This aptly describes the interplay of these two planes intersecting through me at heart center. I feel this most intensely when I am sounding harmonics through a space. Especially using modular synthesis – with all the operators, envelopes, slopes, attenuations, triggers, gates and frequencies- to create actual sonic forms in space. At present I play with Ripplemaker ios app from Bram Bos. It is great to learn on. Ableton can function as a synthesizer. This is my focus at present- to configure Ableton into a synthesizer. (I am deeply desiring a modular system, but must go slowly due to funds. So work with what you have!)

This first week of 2019 – a new year (marking earth’s intersecting oscillations with the sun, moon and stars) brings some interesting mantras –

Listen more deeply, mind the oscillations, propagate harmonic vibrations, learn to play with forms, depersonalize the whole thing! The WoW

Alrighty then!!…on with the emanations!

*These books have informed my thinking about all this:

Long, Manya J. The Psyche as Interaction (Electromagnetic Patterns of Conscious Energy)

Lanza, Dr. Robert Biocentrism and Beyond Biocentrism

Song of Sirens

paper.abstracts.8

When I was a child, we often visited our grandparents in Elkins WV. Elkins is home to the Mountain State Forest Festival, and is my birthplace. My Mother’s family has a long history with Elkins. Her grandfather was one of the first mayors and one of two doctors after the town’s 1890 incorporation. I am not sure how my Dad’s mother got there. Mamaw lived in a brick row apartment with a porch and stoop to play on. And she lived one block from the volunteer fire department.

When I slept over with Mamaw, there was always a fire in Elkins, sometimes two. The volunteers had to be called in from all over town, and what called them was the longest, most mournful sound my young ears had ever heard. As loud as it was (remember we were one small block away) the siren also sounded ghostly. It went on and on and on for an eternity and then it stopped! A lovely silence would fall and gently wash away the residue of the wailing. If it happened at night, I would return to sleep; by day, it was back to play. Either way, the siren always elicited a jolt of free-floating anxiety.

The Mountain State Forest Festival takes place the first weekend in October in Elkins and has for 85 years (with a short hiatus during WW II). This Festival was a highlight each and every year of my growing up. We got out of school for two days, traveled through the gorgeous colors and crisp fall air to spend several days with carnivals, exhibits, parades and pageantry. One of the parades took place on Friday night and involved 100 firetrucks sounding their sirens at the same time. The Fireman’s Parade attracted fire departments from all over West Virginia, and into Virginia and Maryland. The trucks would line up at one end of town and slowly make their way down the main street blaring the siren song of their station, their truck. The sound of 100 firetrucks calling their warning song together cannot be described. People flocked the sidewalk, laughing, trying to talk to each other over the din. My brother Matt is famous in our family for having slept through the Fireman’s Parade when he was a babe. Even back then, I enjoyed the interplay of the various intervals that make up a siren song.

A few years ago, my cohorts from iBoD (idiosyncratic Beats of Dejacusse) were discussing ideas for soundscapes. The one sound artifact that really stands out in the urban growth we are experiencing in Durham NC is the frequency of emergency sirens. This became the basis for an iBoD piece called The Sound…of Sirens. One online resource said the intervals of sirens telegraphed who’s coming: the police are a perfect fifth, ambulance is a fourth, and fire trucks are a whole tone. I designed the soundscape with those intervals. We all started with the basic intervals, and as the piece went on, we threw different intervals into the mix. The ending is a big crescendo and all out except the tail of the reverbed voices of the scape, which I turn up to a final fading shriek. We played the piece at a few venues. I thought of it as a novelty song.

I talked about all of this in an interview with Margaret Harmer, who produces electronic music as Shifting Waves. Margaret is producing an album of work from 15 to 20 women electronic artists from all over the world. She asked each of us to think back to a sound in our childhood, to find the story around that sound, and bring it forward into a piece. (I actually added that last part, Margaret did not say the story had to be about the piece for the album, and it sure did flow that way for me.) Here is a link to the interview.

http://www.shiftingwaves.com/blog_files/jude_casseday_interview.html

I took the soundscape for The Sound…of Sirens and began to analyze it harmonically and timbrally. The piece was sculpted from thick resonant voices (several synth pads and strings). This allowed me to carve out the movement of the sirens, the doppler effect of approach and recede, the abruptness of a nearby siren suddenly starting or stopping – the psychoacoustic impact we experience in our communities. Now called Song of Sirens, the piece was a fountain of siren voices overflowing and receding. There are several short repeated interludes during the first section. Several crescendos and several interesting places where the sound drops out leaving space in the front of the mix. This is most obvious when listening through headphones. This has peaked my interest in how we define the sonic space a piece takes up, and how to keep the full space alive when the sound recedes.

Siren’s song in mythology is characterized as an intentional “luring” of sailors onto the rocks. This sounds like one side of the story to me. Who was hearing and for what end? Was the siren song seductive, plaintive, demanding? Was it the call of grey seals, baying and mournful, resounding in the range of the female voice, a voice the sailors had not heard in years? Perhaps the sailors drove themselves into the rocks looking for women to rape. There are many possible scenarios when all points of view are considered.

I wanted to put an intention of comfort and nuturing from female voices into Song of Sirens. How interesting that modern day emergency sirens call out warning, answer your cry for help, or pursue you – all at once. How to embody all of this while flipping the mythology of blame the women. So I recorded Trudie, her daughter, Sheila, and three granddaughters singing phrases of Brahm’s Lullaby and wove them in and around the siren soundscape.

We are creating a new mythology as our brains and conciousnesses go through an extraordinary evolutionary shift. The reptillian brain – the one that fights or flees – is softening into the polyvagal brain. We are moving from survival of the fittest to survival of the kindest. Feminine consciousness knows how to be kind, not just benevolent. As the Song of Sirens raises the death knell of the reptillian brain, grandmothers, mothers and granddaughters sing a soothing lullaby swaddling the panicy cries.

Song of Sirens will be released as a track on Voices from Eris, produced by Shifting Waves studios. Stay tuned for more on fundraising and release date. I appreciate your listening!

A Field 4 Bells

iBoD is back playing in the Sun(Ra) Room with a focus on improved recordings. In addition, we plan to play at the Central Park School Soundgarden on the Sunday evening after Moogfest, May 20. The last time we played there, the request came through for “more bells”. So, this year, the bells will be central to the evening’s soundscapes. So, more bells, y’all! per yer request.

In 2016, in preparation for playing soundscapes in the Soundgarden, I did a detailed analysis of the harmonics of the metal tanks and tank tops that we call “The Bells”. From this came the piece called Adrift in a Sea of Bells, which we played the first post-Moogfest soncert. The dissonance and consonance that The Bells throw out can be sculpted by the soundscape’s sonic character, and the additional frequency forms created by the cohorts. Here is an excerpt from that performance:

We will perform this piece again on May 20th, but I wanted to design a different piece for The Bells. Instead of a sea, we will sound out a large field. This idea was fun to develop- starting with a reexamination of the sonic data from my previous research (for more on this see https://wp.me/p5yJTY-ci ). Two ideas emerged – the field should be low, rumbly, percussive and – the tonailty should be shaped by the tones of the middle pole tanks and tops. These are the ones Eleanor focuses on when she “wakes up The Bells”. I have a recording of Eleanor performing this sonic ritual, so I loaded that clip into an audio channel in Ableton, and looped it. Then I started listening to voices in the Ableton stable. Then I layered in some tones and liked the sound of it!

The fundamental tones of the six tank tops and two short tanks available from the middle post are DEF#G#A. The intervals in this pentatonic scale are 5th, 4th, tritone and minor third. A scale beginning on C and including those intervals is CEbFGbG. In Hewitt’s Musical Scales of the World, this scale is close to the minor blues scale (if we throw in the Bb). Next step, play around with that. The scale patterns being offset by a step creates a tension that is held together by the one common note – the F#|Gb.

The voices and tonalities I choose to play under The Bells tend to be quite dark and heavy. The Bells have a cheery brightness of tone that calls for this buzzy darker undertone as counterpoint. The dissonant character of The Bells is a dominant feature of the soundscape. They go together in this sweet and lovely way. Both Adrift and A Field tug at my stomach and heart! The process is to analyze the sonic spectrum of The Bells and then listen for what goes with that – and this heart- heaving stuff comes out.

Listening to the interplay of bells and electronic voices, I hear the bells encouraging continuous movement. These two balance and catalyze each other! Unfortunately, I do not yet have the live sound equipment or knowledge to convey all of this sonic richness to the world when we perform live. To be heard, The Bells must resound when being played. Subtle gestures do not carry. Eleanor Mills, who is the master player of these bells, must pull alot of sound out of them to be heard when accompanied by iBoD. Ideally, I would mic the bells and all the players into a mixing board and out to three speakers. Perhaps, one year, a person of sound heartitude would step forth. Till then you are stuck with my meager amplification.

In spite of our less than ideal sound setup, we have made some lovely recordings at The Bells. Here is one of Gone Won: Life is a Dream from iBoD’s last soncert at The Bells in August 2017:

Then there is the question of how to audience iBoD?

“Well, we just pull up a chair and watch you, right? You’re going to put on a SHOW, right?”

Well, not exactly. Our ideal audience would probably stroll by, slowly, listening, sit on the steps, look at the sky. Or lie on the ground close by with eyes closed.

Actually, Catherine DeNueve of Beaver Pageant fame, embodied our ideal audience as she strung up a hammock or did walking meditation around the schoolyard. Reclining and strolling are the appropriate audience postures for our soncerts. We are not entertainers, and yet we bring a gift of great vibrancy in the form of these long form soundscapes which we will play for you on

Sunday May 20th

7 pm

Central Park School Soundgarden (on the hill behind Cocoa Cinnamon.)

I Met a Rapper

I just heard Doseone perform at the Ableton Loop Vocal Synthesis Panel. The whole panel was great, and Doseone put in an extraordinary performance. His lyrics are cosmic and thoughtful. Gonna be listening so somore Doseone! I love this song!

www.youtube.com/watch

Apres Moogfest Improvisation in the Soundgarden

Although our post Moogfest event was altered due to lack of electricity, iBoD did regale our audience with an acoustic improv for about a half hour. Eleanor and I played the tank bells, while Jim played his horn and Susanne played Native American flute.

Towards the end, it was suggested that Eleanor and I get two of the smaller tank top bells going like singing bowls, while Jim and Susanne improvised over them. The harmonics were so dense that we had a lot of fluttering beats moving in and out, which I loved. You will hear traffic creating Doppler effects, chattering people and birds, and the beating of some very big wings!

Here is that improv which I named Cosmic Iron Butterfly:

The Gift of Nature’s Chord 

Nature’s Chord is an organizational framework for all frequencies, AND any periodic reoccurrence can be converted to frequencies and studied as this patterned relationship. In his book The Cosmic Octave, Hans Cousto, the maverick mathematician and scientist, demonstrates the formula for converting any periodic function to an audible frequency. He explains that “The period of oscillation and its frequency stand in a relation of inverse proportionality, thus period = 1/frequency and frequency = 1/period. The reciprocal value of a period of time represents its frequency…” You find the reciprocal value of a given period by dividing the number into one. This value is then multiplied by 2 until the number reaches the audible frequency range. Then you can find the tonal correspondence to the periodic function that you just converted.

For example, the speed of light is 186,000 miles per 1 second. “Miles per second” is a dead giveaway that this measurement is a periodic function. (Actually almost any measurement would qualify.) 1/186000 = 0.000005376344086 x 2 to the 25th power = 180.4 hz which is F#/185 hz (-3.6 discrepancy). So the tone for the speed of light is F#. Cousto converts time periods (days, years, etc), planetary orbits, distances between the stars into frequencies. The mathematics point to a potential resonant frequency for any periodic function.

In a recent blog post on The Law of the Octave, I pointed out that our Universe is held together and moved along by vibrations. Even a cursory reading of contemporary quantum physics supports this idea. Nature’s Chord allows access to and influence upon the vibrational Universe. As a painter of sound, a lover of diversity, and a harmonic healer, this is one exciting discovery. This is a way to sonify and present information, bring the resonant frequencies of relationships into harmony, and generally engage with the overall vibration of any situation.

So, I am looking around for periodic data to sonify using the Law of the Octave and Nature’s Chord/Scale. In 11th Harmonic, I used the reveletory research that Dr. Anthony Holland presented in his TED talk on the use of the 11th harmonic in “disrupting ” the cellular structure of tumors. Of course, the frequencies he is dealing with are super high electrical frequencies. When we apply the Law of The Octave, the electrical frequencies can be converted into audible frequencies. Then through the template of Nature’s Chord, we discover that the 11th harmonic is the fifth above the Fundamental Frequency in the fourth harmonic octave. So the 11th Harmonic soundscape begins with those long spacious intervals. I chose four whole tone tetrachords and then paired them with the fifth in the fourth octave. Within the first four octaves of Nature’s Chord lies two more fifths and the third and flatted seventh. When you start swinging these intervals around, more tetrachordal relationships emerge. It is a firework of harmonics when moving quickly, then a luxurious web of sound swaying in the breeze at slower paces. Here is a little excerpt of 11th Harmonic as played on April 4th to reset the time fractal and disrupt the stuck energy behind war and violence.

And, sure enough, Trump bombed Syria. (And the butterfly flaps its wings.) The 11th Harmonic disrupts and moves the energy without any particular outcome except dislodging and moving the energy. (Which is why Dr. Holland does not say the 11th harmonic “cures” cancer. It disrupts the integrity of the cancer cells.) And, at the same time, Nature’s Chord and the Acoustic Scale express beautiful, harmonious sonic relationships, within which the change is happening. That is the vibe! As these magical relationships are expressed with open-hearted loving intentions, entrainment happens and the vibration rises up. And, it happens in mysterious ways. Entrainment is alot like God, like Love.

While I was writing this post, Trudie asked, “Did you know that the Hindu creation myth says that the world was created through sound?” No, I did not! Research revealed several Hindu creation myths – hooray for multiple potential beginnings without needing one to be right!  Here is one of the creation stories from Hindu mythology.

Before this time began, there was no heaven, no earth and no space between. A vast dark ocean washed upon the shores of nothingness and licked the edges of the night. A giant cobra floated on the waters. Asleep within its endless coils lay the Lord Vishnu. He was watched over by the mighty serpent.

Everything was so peaceful and silent that Vishnu slept undisturbed by dreams or motion. From the depths a humming sound began to tremble, Aum. It grew and spread, filling the emptiness and throbbing with energy.

Aum, or Om

The night had ended, Vishnu awoke.

History is, in part, the periodic oscillation of humanity falling asleep into the larger, darker dream and then awakening into the light of self-awareness. We are riding the wave of an awakening time right now. Pay attention to what and to whom you give your attention. Our moment -to -moment awareness is our most valuable currency.  Do not squander it on guilt and sacrifice. Do not squander it on exploiting and manipulating others. DO, yes, DO give your attention to all that is in your present moment. Give it to the joy, beauty, harmony, pain, suffering and dissonance that is within each moment of our existence. Breathe. Wait for instructions. Remember vibration. Dance and sing, move and vocalize however you are able. (In the head works, too)

Allow the awakening to unfold!