Here is a 8 minute excerpt from dejacusse’ hour long broadcast on Thursday afternoon July 30 from 2:48 pm to 3:45 pm. (cause I eschew ideas of “perfection”, and all her followers and gatekeepers.) Today we featured Theta Waves (frequencies divisible by 5 and 8) at 200hz and under at 108 bpm. These Sine waves were then set off in relation to each other, and filtered through flangers, resonators, delays, reverbs and frequency filters within Ableton Live. The idea is to unfold harmonics from these interactions, and enfold them back on themselves. Some pretty cool stuff emerges- not for everyone, but if you feel the resonance, that is the best! Thanks for listening if you do!
Once again I find myself back with Ableton Live. A couple of posts ago, my sounding board was set and I was starting to put some things together in Elektron: Model Samples along with Ableton and the Neutron. Then a couple of the trigger keys on the Model Samples started sticking. This is comparable to a sticking piano key. At first, I was OK with having this be another random possibility within my workflow, but more triggers got in on the act, and I couldn’t tell which keys were sticking, and that random possibility became a more fixed probability. So for now the Model Samples is boxed up waiting to go to the technicians at Sweetwater whenever they get Elektron techs back at the shop. This is my last purchase from Sweetwater! I am miffed that this is taking months to resolve and I am left with several ideas in early development within the Model Samples that are now on hold. Instead of wasting energy being miffed, I am turning to some new ways to play in Ableton.
Under the Audio Effects subfolder DJ and Performance within Ableton Live, there are One Knob effects racks capable of creating dramatic changes to any sound when the One Knob is turned. The changes are achieved by placing several different audio effects in a rack and then using midi map to attach a variety of parameter changes from each effect onto the One Knob. The parameter ranges can even be adjusted as to how big a change the knob sweep brings. After working with Audio Animation Clips/Envelope Generators, this seems like a promising new direction to explore.
My favorite One Knob Rack is Fade to Gray, which houses a three band EQ and a Ping Pong Delay. Here are pictures of each of these effects:
Turning the One Knob lowers the mid frequency band of the EQ Three by 6dB while the low frequency and high frequencies sweep toward the midrange as the wet signal and feedback swoop up to 95%. Now a tiny slice of mid-range frequencies feeding back on itself goes into the Ping Pong Delay, where the signal and feedback go to 95%. All of these changes are happening over time and in relation to each other. While the end result is a thin and distant decaying echo of the completely subdued orginal signal, every stop along the One Knob sweep renders new sonic terrain. So cool!
Now I am inspired! What sorts of changes can be wrought in this environment? I want to make One Knob Racks that sculpt the sound in interesting ways! Start simple: made a few changes in the Fade to Gray letting in some lower range frequencies on the EQ3 and bringing the crossing frequencies together at a lower bandwidth. So this Fades to Throb rather than Gray. I suppose I should have picked a color- it would be Blue, Fade to Blue. Throb describes the end result more clearly, so that is the name!
For several weeks now, I have been making, testing, throwing away and saving One Knob Racks. My project contains an audio track with sound samples from Ableton and from Library dejacusse. That track is routed into another audio track which contains the One Knob Racks and is routed to the Master output track. With this setup, the original audio track signal goes directly to the One Knob track, so the original audio is heard through that track. When I close all the One Knob Racks (there are seven so far but I forsee hundreds) no sound comes out the Master track. All the frequencies have been gathered and are being held within the racks. One type of improvisation might be to slowly unveil the original audio by opening the One Knob Racks a bit at a time. When they are all completely at 0, the original signal and all its frequencies are now sounding through the One Knob track and out to the Master. So much potential here!
But wait, there is more! There are a couple of tracks hanging around over beside the Master Track. These are Return Tracks. The original audio track and the One Knob track both have two Sends knobs that send signal to the return tracks. This is another way to add some effects processing to a signal and also have it be available for all the tracks. As it turns out, the send knob on the original audio track can bring that signal forward through the return track even when all the One Knob racks are closed! This is sooooo cool, because as the One Knobs are opening, some of the original sound can be brought up into the mix to give listening ears some direction and excitation. The return tracks can also have effects on them. WoW!
This is exciting for me because it aligns with everything I am creating right now. I seek methods for including all frequencies in the sonic pallette, for rendering frequencies in as many dimensions as I can tune into, for conveying information/data/quanta via sound, and for creating diffuse, diverse sonic delights. I tune into joy and delight in many strange waveforms.
I am drawn to the idea of unFolding, uncovering, and revealing which this method opens up to. Also, the idea of integration and disintegration, which I started exploring over 10 years ago with Unhinged Melody (which later became Circuslocution with iBoD). The idea was an 8 bar upbeat riff that started as individual random sounding notes and slowly came together. Every note has its place and it eventually gets there with some extra notes for good measure! Each One Knob Rack will shape the sound into particular forms, then as one Rack feeds into another, the various level settings create new sonic relationships within the original audio.
Creating these One Knob Racks is teaching me so much about each audio effect in Ableton and what it does. The other part of this will be the sounds that pass through the Racks, what will they be? And then there is the order that the Racks are placed in to maximize the interplay of the Racks as they pass the sound around and through themselves.
Here is a quick journey through some of the sonic territory these knobs can uncover! The original audio is Eleanor Mills playing harmonica and me talking and playing uke. Listen for those times when the original sound is hard to distinguish.
Today I worked with a 8 second clip of Jim Kellough’s digital horn and here is the result:
David Byrne’s record label Luaka Bop released one of my favorite albums – Cuisine Non-Stop – which featured popular local bands from all around the country of France. The album is a delightful pastiche of people lovingly creating their music wherever they find themselves! I felt a kinship with this merry band of troubadours, and thought it would be so wonderful to be included in such a sampling.
In January 2020, I saw an advertisement on Facebook from Chapel Hill Library and Community Arts and Culture seeking album submissions for a curated collection of music by local artists. The requirements for submission were residence in Orange and neighboring counties, and a published album. The submission process was pain free and user friendly. I submitted dejacusse’ album Audiorigami:Meditations on The Fold (released 11/11/18) and wished her the very best!
A month in Florida, a Coronavirus lockdown and a National Water Dance later, an email arrives telling me that Audiorigami would be included in the inaugural Tracks Music Library. I am thrilled and encouraged by this development! Although it may not be Luaka Bop, this fits my work perfectly! “The grass roots of the grass roots” as one friend said! Tracks Music Library was launched June 9, 2020 with 80 albums to stream and plans to grow the library by 25 albums a year. You can listen at tracksmusiclibrary.org.
Tracks Music Library is the result of Chapel Hill Library staff meeting the Rabble Musicat staff at a library conference several years ago. Rabble is a private company with a mission to equip libraries with the very best software for presenting media to the world, which is a primary mission of libraries. Rabble believes libraries are “forces for good” and wants them to have access to excellent media resources! (I think they are quite successful, and I will tell you why later.) Musicat is a facet of Rabble that focuses on curating local music into library collections. These local music libraries have been established in Nashville, Seattle, Salt Lake City and Austin to name a few, and now Chapel Hill. Here is a link to more on Rabble Musicat: https://musicat.co/libraries
Melissa Bartoletta, Communications Coordinator for Chapel Hill Community Arts and Culture, said of this first round:
We received 176 submissions in our first open call for submissions. We were thrilled by that number as well as by the quality and diversity of the work submitted. Because our first year of this project was funded through a grant from the State Library, we were able to invite 80 artists into the collection.
Melissa emphasized that Chapel Hill Library and Community Arts and Culture have made a committment to grow the library with an annual call for submissions, continued funding and staying responsive to the ever-changing Triangle music scene. One of the ways they will stay responsive is by calling on folks from the local music scene to curate the collection. This year’s curators were Lois DeLoatch, Kevin “Kaze” Thomas, Elinor Walker, Bill Smith, Kat Harding, Glenn Boothe, Steve Weiss, and Steve Wright. The curators come to music from a wide range of perspectives, but all listen “with an ear for quality, diversity and connection” to the local music community.
While the on-line library is free for music listeners, all of the artists were paid a meaningful stipend for our work. I think of it as a kind of permanent license to stream purchased by the Chapel Hill Library. In addition, each artist has their own page with a PayPal donation button – if a listener is so moved they can donate to the artist. From my perspective it is a perfect platform. Part of this perfect platform is the media player created by Rabble. As I listened through each track on Audiorigami, I heard so much detail and depth, as if I was listening through headphones, but it was actually through iPad speakers at 75% amplitude. The quality of this listen really impressed me.
Go to Tracks Music Library and tune in. You can search by album, artist and genre. To get you started here is a playlist of Black and Brown artists featured in the Tracks Music Library: https://tracksmusiclibrary.org/featured/playlist-1591669567455
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!!
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.
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.
On Friday, March 20th, Dr. Erin McKenney and I will present our work on sounding the data from her doctoral dissertation, which focuses on changes in Lemur baby gut microbiomes as their diet changes from birth to weaning. (See this post for further information: https://wp.me/p5yJTY-tD ) We will also preview some of the findings and sounds from the Sourdough Project through the Rob Dunn Lab at NC State.
Our presentation is sponsored by Duke University Science and Society, and is one of a number of talks and presentations presented by this department. The program is open to the public and a pizza lunch is served. You can register at this link: https://scienceandsociety.duke.edu/engage/events/upcoming-events/ Scroll down the March calender to our event, click on it, scroll down and register.
I hope to see you there!
Right in the midst of the most recent Mercury Retrograde, I decided to dive into MAX MSP, a visual computer coding program for controlling sound and light for performance. After downloading the software, I started a class online and was working with some patches when my computer audio stopped functioning. No sound out of the computer. Then the computer and sound card stopped talking. All of this right before an iBoD rehearsal when we were recording Carnatic Water Music.
Using the Windows Troubleshooter, I discovered the problem “audio services not responding” and that this problem was “not fixed”. Online, there are multiple fixes for this message. After cancelling our recording session, I tried all the suggested fixes several times – from inspecting the Services to make sure Windows Audio and Windows Audio Endpoint and all their dependencies were automatically running to entering very specific commands into Command Prompt as Administrator. The first thing I did was update the ASIO4ALL audio driver, so no problems there!
After several days of trying different fixes, I was able to get the computer and sound card talking again! Ableton Sets and Projects were now audible! Yayyyyy! But the computer would not play audio WAV files. Outside of Ableton, audio services still not responding. Finally, I uninstalled the ASIO driver and uploaded the driver for the soundcard. I have a Native Instruments Komplete 6 soundcard, which has been a great device. (I had audio dropout problems with the NI driver about a year after I purchased it, which was when I switched to the ASIO driver and all was well.) Well, changing back to the NI driver solved the audio problems completely and I am back to sounding again!
A friend mentioned Mercury Retrograde as I was working through this process. Dang, I forgot about that current astronomical phenomenon. If I had remembered, would I have done anything different? As things turned out, it is very good that I did not! While I got thrown off of MAX (for the moment) I redirected my energies toward creating synth sequences in Ableton. Since purchasing the Behringer Neutron, I have been unsuccessful in getting Ableton set up as a sequencer for the Neutron. The Neutron has processed audio signal, but never midi signal. Low and behold the NI Komplete 6 driver allowed Ableton to see the midi ports for the Neutron. Suddenly, I was hearing the synth voice and all the modulators. When I made a patch or tweaked a knob, the sound was changed as I expected it to be! WoW! I feel like this is the first time I have heard the instrument’s true voice!
Today I am working on a soundscape for the next Human Origami Jam at ADF Studios in Durham on December 6. Very excited to finally get going with the Neutron.
This is what I will make in the soundscape!
After reading and studying the data (so far) from The Sourdough Project, a bit of it jumped out as a possible sound pallete. The growth profiles of the five most prevalent yeasts and aabs (acetic acid bacteria) measured as increasing Optical Density over a 48 hour period. Measurements were taken in 12 hour increments and recorded from 0.1 to 1.2 levels of density.
I was drawn to this data because the graphs reminded me of waveforms.
I am not at liberty to reveal the details of the data, so suffice to say that these are 5 strains of yeast. We will call them pink, blue, orange, green and neon. The pinpoints mark the 12 hour samplings of the prevalence of the strain. So at 12 hours pink grew to around .25 OD, while neon grew to .6 OD. How to represent this in sound is the next question!
My old friend, the piano keyboard, provides a familiar sonic framework. A two octave chromatic scale will represent the sound of OD growth by stretching the OD measurement scale over the two octaves. Like this:
Each OD amount covers 2 notes. D and D# represent the .1 amount, E and F are .2 and so on. This allows some wriggle room when the 12 hour sample seems to be between two numbers as is seen with pink. The growth range for pink will run from D to F and encompass 4 notes. In the case of neon, the growth range runs from D to C and encompasses 11 notes. The differences in the growth rates will be heard in the number of and duration of the steps taken within each twelve hour time frame. So far, so good!
The time frame will run in beats and measures. Since it is 48 hours of growth, one hour can equal one measure. The step patterns will run up to the highest note indicated by the OD data at that particular 12 hour marker. That makes each sampling unit 12 measures in length – seems perfect. Even better, at 4/4 time, each 12 measure sampling unit is 48 beats long! Synchronous!
Lets lay out the first 12 hours of pink and neon. Since all the yeast densities begin from .1, all the patterns will begin with D in the 3rd octave (D3). pink grows from D through D#, E, and lands on F. For this growth pattern there are 4 notes and 48 beats, so each note will be 12 beats long. The long notes and fewer steps up communicate that pink did not grow much in the first 12 hours. Neon grows from D, D#, E, F – C. For this growth pattern there are eleven notes and 48 beats. Each note is 4.36 beats in length. So the first ten notes are four beats long, and the eleventh is eight beats. The longer note at the end places emphasis on the final growth number for that 12 hour period. Faster steps further up the scale sonify neon‘s more abundant 12 hour growth period.
Looking at the graph, it is easy to hear that the growth patterns of pink and neon invert at the 12-24 hour sampling unit. Pink leaps from .25 to .7, while neon short stretches from .6 to .75. Again, note duration and number of steps will sonify these contrasts in the data.
While a sense of growth is captured by the movement up the scale, there is not yet a sense of increasing density. To get at this, I decided to sustain the top note of each 12 hour sampling unit. As example, pink’s F and neon’s C would continue softly to the end of the 48 measures. This would follow for the last note of each 12 hour cycle and will create the sense of sonic density.
Enough talk, lets have a listen!
neon 48 hour growth pattern
pink 48 hour growth pattern
These are the 48 ms versions of the patterns. So 48 4/4 measures at 120 BPM really stretches out these relationships making it harder to hear the movement of the data. Ableton Live has a function that allows me to collapse the sequence from 48 measures to 24 measures and still maintain the rhythmic integrity of the phrase. WoW! Then the phrase can collapse to 12 measures. All of these phrases will likely be a part of the Sourdough Song, but I am still deciding which version (24ms or 12ms) conveys the data more clearly. One of the researchers on the project said the longer growth articulations conveyed the anticipation the bakers feel as they wait for their starters to grow.
Here is the 12 ms version of both strains together. See if you can hear the changes described above. Listen closely for each voice – you will hear pink holding longer tones, while neon changes tone more quickly. It helps to look at the graph while you listen.
This will likely be one a motif within The Song of Sour Dough. (What do you think of separating sourdough in the title?)