All Data Lost Fest – August 17th – The Wicked Witch -Raleigh NC

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!!

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.

The Place ReSounds of Water

Sunday May 19th was a gorgeously breezy afternoon when Susanne Romey fluttered and howled on the Native American flute while Eleanor Mills pulled rich sounds from The Bells, and Lee Moore Crawford blessed and balanced the water, while Jody Cassell moved and was moved by internal and external energies. dejacusse added a little shimmer to the bell harmonics and witnessed this most beautiful rendering of love.

Big thanks to Jim Kellough for sound smudging the space, to Linda Carmichael for the video capture, and Central Park School for allowing us to celebrate at The Bells.

Stay tuned next year for National Water Dance 2020 Durham NC!

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!