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 atomosphere 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!!

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

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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!

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