Over the years I have had many wonderful discussions with people whom I have never met. Either through emails, forums, or even chatrooms I have talked about all manner of things with people scattered around the world. Sometimes these virtual friendships manifest in the physical world and a thing is born. An art thing. This is one of those times.
The Black Box project is a project that involves Pierre Alexandre Tremblay on bass/electronics, Patrick Saint-Denis on robotics/electronics, Sylvain Pohu on guitar/electronics, and myself on drums/electronics. It’s a four-way collaboration that has gone through two residencies (in Montreal and Huddersfield), to work out the finer details of putting a large-scale show together.
It looks and sounds something like this:
This is what it looks like:
Some of the core ideas in the patch are based on sampling and processing modules I developed in The Party Van, another piece of software I’ve written. However, in Cut Glove I rebuilt everything completely from scratch, with tons of new features, more options, better overall sound, etc…. At the core of Cut Glove is karma~, a Max external I recently put out which can you read about in detail here.
Before I go into detail about what Cut Glove does, and more importantly, how the mappings are implemented, here is the first of three Cut Glove performance videos in this blog post:
The rest of this blog post will go into detail about the background, development, and technical implementation of Cut Glove.
And here is a tutorial video showing some of what karma~ can do:
karma~, has been in somewhat active development since September 2014, when I first contacted raja to see if he would be interested in writing the C code for it. Thankfully, he was interested and able to. From that point we’ve exchanged hundreds of emails discussing the feature set, implementation, and bug fixery. I am eternally grateful for his programming wizardry and endless patience with me.
I’ve been working on a relay-based hardware repatching instrument for quite a while. The idea being that I could use my computer (running Max) to control a bunch of my weird (ciat-lonbarde) hardware synths.
Here is a video using attack-based random repatching of an Old Mr. Grassi using my drumset.
After over a year, I’m finally putting out a version of The Party Van, a free software system/instrument/environment that I built in Max. It’s also officially out of beta now and the version numbers will reflect that. It has gone from v09 to v1.0. It’s been about three years since I started working in Max again and started building what eventually became The Party Van. The software has changed radically since the last release, and has been ready to release for some months now. It was just a matter of making the time to finish updating the manual with all the new features/sections/etc….
And here are a couple of videos made using The Party Van.
Check out all the links to learn more about it, but this post is mainly about two videos. The first is an excerpt from a performance Peter and I did. The second is an amazing documentary (by Angela Guyton) about the workshop itself.
You can see The Party Van in action on my side, with some more Max/MSP goodness coming from PA. Sam? He kicks it oldschool with some ciat-lonbarde digs, some general DIY grunginess, and with a new school twist, an Arduino.
I recently put out the v05 version of my Party Van software, and it is looking/sounding great if I don’t say so myself.
Here’s a performance video using solo snare + electronics:
The Chocolate Grinder is a software emulation of a skipping/glitchy CD player.
It sounds like this:
And looks like this:
So a few months ago I experienced a big paradigm shift. I had been a lofi/hardware guy for many years, but when planning my next big change in hardware, I decided it would be easier to just built it in Max/MSP instead. So I started doing that.
I made this post back in September with the first module of what would become the setup I’m working on at the moment.
Well I’ve been hard at work since then!
So I’ve been working with what I call the Sidrassi-Tom for just over two years now. It’s gone through several revisions over the years including how the electronics/contactmics are setup, to switching a new drum, to most recently incorporating a whole new circuit and speakers.
Here is the dedicated page with info/pictures/video on the current (and older version of the Sidrassi-Tom).
I ran into several snags along the way, but in the end I’m very happy with the build.
Towards the Beat of a Different Drummer: A Journey into the Loss of Fidelity in Drums and Electronics
I wrote a paper on my evolving drum+electronics setup entitled “Towards the Beat of a Different Drummer : A Journey into the Loss of Fidelity in Drums and Electronics”. It was accepted in the end, but as a poster length paper, meaning that I had to cut the eight page paper down to four pages. There were lots of pictures/diagrams so after removing that and trimming some footnotes, I only needed to cut out a paragraph or two to make it fit.
Here is the full length paper version of the paper:
The published version, as mentioned, is a bit shorter and is available as part of the ICMC2011 published proceedings.
I recently spent a week and a half at STEIM and it was amazing. This is the blog I posted for their project blog.
I’ve known about STEIM, in one way or another, for almost 10 years now. While living in Miami (currently in the UK), it existed as a faraway place where amazing, almost magical, things happened.
After moving to the UK I always had, in the back of my head, a thought that I would go and see it in person. After starting my MA (in Electroacoustic Composition at the University of Manchester) I decided to apply for an orientation workshop.
Now backing it up a bit. Zoom and enhance. Zoom and enhance.
-makes music and art
-lives in Madrid/Manchester
-is a crazy person
Learn from me (for free!)
Want in on this?!
Read my PhD Thesis!
and Making Things,
sitting in a tree :
- 5 May: Student Performance - York