Mercury Retrograde (or don’t fight it, surrender)

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!

String of Yeasts

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?)

 

Playing by Ear – a sonic exploration of hearing

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!

PBEiBoDWickedWitchAug2019

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

Monthly Human Origami Jam

Glenna Batson is back in town and we have started a monthly Human Origami Jam at ADF Studios on Broad Street in Durham. Join us this Friday, February 15th for an exploration guided by the foldings of cells – the building blocks of nature. While Glenna guides you through a macroscopic to microscopic sense of the cell, dejacusse will sculpt sonic forms in the atmosphere of the room. The soundscape will swath you in harmonics, whispers, bounce and back to the ambient sound of the room. Sound as water is my theme, and since cells are mostly made of water…

Human Origami Jam

TODAY! Friday February 15th

4:30 pm to 6:30 pm

ADF Studios Broad St. Durham NC

Donations accepted

I would love to see you there!!