Was not able to stream live due to some problems with Butt and my PC not cooperating.
This was my practice set from the night before.
Happy New Year and here's to another 10 years of electro-music.com
Joined: Jan 18, 2005 Posts: 4145 Location: Sweden
Audio files: 373
G2 patch files: 100
Posted: Tue Jan 01, 2013 2:56 am Post subject:
Another amazing event - great and interesting music all around, a good time in the chat, and smooth streaming. Thanks electro-music.com for 10 fantastic years, and here's to the future!
Attaching my set, as well as two performance patches that I used on the Nord Modular G2.
Here is my set..
Unfortunately I have lost 10 mintues from the start due to the soundcard problem. I recorded and added in the last 10 minutes and make it full length 30 minutes and uploaded.
The set was used with G2/Access Virus and Minimoog together with Delay plugin.
BTW, happy new year to everyone here! wish you all have a great 2013.
Joined: Jan 23, 2006 Posts: 536 Location: Sweden
Audio files: 37
Posted: Tue Jan 01, 2013 11:35 am Post subject:
thanks for the opportunity to be a part of this wonderful community!
many thanks to stefan for streaming my prerecorded set on short notice and to all the musicians out there for your varied and stimulating performances.
please find below my set using a moog little phatty and u-he's mfm2 delay plugin.
The laptop in the center is running Kyma for the black Pacarana box as well as Ableton Live. The Makie 1642-VLZ3 mixer to its left feeds stereo pair 3/4 through the Pacarana and then back into 3/4. 1/2 feeds directly back into itself -- 1/2's feedback loop is not through the Pacarana -- and a tap from 1/2 supplies a modulation signal into the Pacarana for patches with carrier on 3/4 + modulation on 1/2. Output from this mixer feeds Ableton Live (as a final mixer) -> Nicecast.
Sounds wild !!! Hey, I think we need a schematic diagram for this one ! I will be listening
You got it, Bill See below. I had played the Yamaha mixer at electro-music 2012 and Jeremy played the Mackie. This time I played them both.
SCHEMATIC: The Yamaha was my main axe. Compared to the Mackie, the Yamaha's intrinsic tone is more like a resonant chamber, whereas the Mackie is more reed-like; the Mackie tends to clip a bit, giving it a reedy sound. Also, the Yamaha has optional built-in digital FX that are pretty good. Stereo 1/2 on the Yamaha feeds the output B bus (with a second path through the Yamaha FX whenever I fade it in), hence to inputs 7/8 on my laptop, through an FX chain in Ableton Live, back out 7/8 and into inputs 1/2 of the Yamaha. That is the main feedback path for the Yamaha. Up until 17:45 I used that feedback path almost entirely for sculpting the tone of the Yamaha, i.e., no synthesized or sampled sounds. More on the composition below.
I also had channel 3/4 on the Yamaha going out aux send and directly back into 3/4 for a more purist feedback path, but I did not use it for NYE.
Input 5/6 on the Yamaha is output from the HexAtom software game / MIDI synth, the successor to scrabble-to-MIDI. I used it from 17:45 onwards. It feeds the same B-bus and main out as 1/2 (schematic doesn't show that), so the soft synth sounds from HexAtom get processed via feedback.
In the Pacarana / Kyma I had a whole bunch of carrier + modulation patches ready to go. Mackie 1/2 is a self-loop path that does NOT go through the Pacarana. A tap of it does go into the Pacarana, to be used as a modulation signal. There is a second optional tap directly to the output bus, but I never used it in this performance. Mackie 3/4's path goes THRU the Pacarana as the carrier.
Mackie (Pacarana) and yamaha outputs mix in the A bus of Live, which contained a compressor for everyone's safety. Mixer feedback can hit runaway levels pretty quickly. Best to avoid ear damage. A bus feeds the output, onto Nicecast and my headphones.
PLAYING: As John Driscoll and I discussed after the zero-input mixer ensemble at electro-music 2012, the most interesting approach is to find the non-linearities in the feedback paths and then tickle them. There are numerous types of these:
Code:
o transitions between oscillation and silence
o transitions between oscillation and saturation
o transitions between discrete stereo and cross-channel beat signals
o non-linear mixing effects when mixing the above mixers in Live
o transitions from regenerative to degenerative feedback in amplitude and / or in pitch (sometimes you cross a point where a knob or slider starts having the opposite effect)
Sometimes you can get right in the middle of a transition region and play with it. Other times it has a mind of its own, going from no effect to cascading / saturation with minimal control. In the latter cases, the way you "control" it is to sweep back and forth using a knob or slider. In those cases you cannot hang out in the transition region, but you can manually sweep back & forth through it.
THE PIECE: My plan up until Sunday morning was:
0. Introduce the piece by talking. I had a mic hooked up to Yamaha 7.
1. Part 1: Introduce the mixers' individually, and then together, with no processing by Live or Kyma. Add some Yamaha FX and some Kyma modulation patches later in part 1.
2. Part 2: Use HexAtom to inject softsynth sounds into Yamaha 5/6, and use Kyma granular patches as the backup voice. I have never performed the HexAtom successor to Scrabble-to-MIDI at electro-music. Students and I performed it at our university's planetarium in March 2012 using Applied Acoustics physical model soft synths that I had used with Scrabble-to-MIDI at last years NYE2011-2012 webcast. This time I used some simple, grain-like soft synth voices from the MacBook java library. As I mentioned on the chatroom, Part 2 grew out of a testing session for HexAtom while I was watching Hurricane Sandy come into NYC harbor on a webcast from a link supplied by Rebecca Fiebrink of Princeton. (Rebecca and Ge Wang gave an excellent 3-hour tutorial on using the ChucK audio language at electro-music 2007.) Part 2 is actually pretty quiet. It reflects the gradually growing waves in the webcast (the waves grew slowly as the tide went *out*, so the net effect over time was very gradual development), and the gradually growing wind and rain at my house in eastern PA. Later that day we lost electricity at our house for the first of 4 days; my university lost it for 2 and was closed for most of the week. By then both my testing and this part of the composition were in good shape. Despite the fact that there is some soft synth tone generation in Part 2, the Yamaha -> Live -> Yamaha feedback path continues to shape that sound.
The Kyma contributed the second voice throughout Part 2. I had numerous patches ready, but I used only a granular synth patch played with an assortment of config settings. I didn't use the others because I "ran out of time," which really means that I felt like developing the piece gradually, rather than running through it just in order to get through the patches. I wanted gradual development.
3: Part 3: Transition from part 2 into sonic sculpting of Yamaha using various chorus/phase/flange FX in Live, with supporting second voices from mackie / Kyma.
That was the plan. It did not happen.
I was away for 3 days before the event, and the morning warm-up became pure aggravation in Part 3. There is a problem intrinsic to zero-input mixer. Discussing it is one of the motivations of this little essay. Once you capture some crap in a feedback path, it often tends to stick around, even if you 0 the sliders and then bring them back up. These feedback paths remember their history. I don't know how else to describe it.
A little example: At both a planetarium gig a few days before electro-music 2012, and during my solo gig at electro-music 2012, there was a great little phaser patch from Live that twisted the Yamaha feedback signal into little shards of molten sonic glass that would freeze and sometimes snap. It shows up from 11:00 to 14:30 in this recording if you want to hear it. However, during both that live planetarium gig and electro-music 2012, it completely disappeared. No one could hear it. I never had a problem in practice leading up to those performances, but it just disappeared in those two live performances. Jeremy asked me what happened immediately after planetarium gig. That patch was a center piece of the planned September performances, but it would not make sounds in public performances, even though it was in series with the only audible signal. This time it worked just fine (11:00-14:30). But, I had a new problem.
Interlude for two quotes. The first is from Paul Tingen's Miles Beyond, page 161, discussing requiem for Duke Ellington entitled He Loved Him Madly, that Brian Eno considered a touchstone of ambient music. The passage talks specifically about producer Teo Macero's contributions to the recording:
Quote:
I thought that it needed an few small extra nuances, a few smallish effects here and there, to enhance what Miles had done. I tried to apply one of my effect boxes, but we could not get it to work properly. It functioned completely differently than normal ... It sounded like the band of Duke Ellington. I still don't have a clue how this happened ... It was as if Duke had come, touched the buttons, and made everything beautiful. Something unusual, something transcendent, something that we could not explain, had messed with the machine. Until this day I have not been able to reproduce the same effect.
Somewhat more prosaically, from Murray Gell-Mann's The Quark and the Jaguar, page 128, in discussing the bootstrap principle in relation to Superstring Theory:
Quote:
The notion was that a set of elementary particles could be treated as if composed in a self-consistent manner of combinations of those same particles ... When I tried, many years ago, to describe the idea to an audience at the Hughes Aircraft Company, the engineer who then headed the synchronous satellite program, Harold Rosen, asked me whether it was anything like what he and his team had found when they tried to explain an intrusive signal in the circuits they were building. They finally succeeded by assuming the signal was there and showing that it would then produce itself. I agreed that the bootstrap idea was indeed something of the same sort: the particles, if assumed to exist, produce forces binding them to one another; the resulting bound states are the same particles, and they are the same as the ones carrying the forces. Such a particle system, if it exists, gives rise to itself.
Rosen's comments are clearly close to the matter at hand. Also, zero-input mixers' non-linear transition regions can tend to be chaotic in the formal sense of being extremely sensitive to small variations in initial conditions.
In the case of Sunday's warm-up session, I could not get Part 3's sound sculpting path from Yamaha -> Live FX -> Yamaha to stop giving me noisy saturation on the signals. Nothing I did eliminated the effect. I could zero all the sliders, but as soon as brought anything up, there was the audible fuzz. I don't think it was software.
My solution was to shut everything down and take the dogs for a walk. When I came back I went directly into the start of Part 3. I sometimes tell my students that just the threat of my working on something scares it into working. Maybe that's what happened; part 3 came up without the audio fuzz. So, I just let it run (it was oscillating slowly, in an extremely stable, periodic way, in the region I wanted to use), and when my GMT time came I just started from there.
So, the piece that I played was: part 3 from 0:00 thru 17:45, followed by much (but not all) of Part 2 from 17:45 until the end. I didn't get to use all of my Kyma prep in Part 2; something for next time. At 19:10 you can hear what I call Kyma Granular Gregorian Chant come in as a second major voice; at 20:50 I used Kyma's random parameter configuration command to get variations out of this patch.
Thanks to Paul (EdisonRex) for being my guardian angel on the stream, to PhoboS and wmonk for monitoring my port check earlier in the week, to all of the volunteers and performers for this year's event. Happy New Year!
EDIT: The name of the piece relates to the fact that zero-input mixer has little relation to my acoustic instrument processed pieces; it stands alone. HexAtom is the missing link by way of Scrabble-to-MIDI which, as Howard has noted, has a feel similar to my banjo playing.
DParsonNYE201213TheCheeseStandsAlone.mp3
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The Cheese Stands Alone, electro-music New Year's Eve 2012-2013, copyright 2012-2013 under Creative Commons 2.5.
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DParsonNYE201213Schematic.jpg
Description:
The Schematic
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NYE201213abstractRig.jpg
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The Rig (ish)
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_________________ When the stream is deep
my wild little dog frolics,
when shallow, she drinks.
Joined: Nov 16, 2003 Posts: 145 Location: Lancaster CA
Posted: Tue Jan 01, 2013 3:04 pm Post subject:
what butt recorded is pitched up ... why?
so I am not sure I am going to be able to figure out what pitch up it did to try to correct it. I toyed with it a bit last night, got frustrated and turned off the systems ...
I had 2 cameras on and a DAT too, not sure what got recorded there. If I manage to get un-dispointed with it, I might dump the cards and see.
I also saw some notes on buffering going on ... not sure what got out and was heard ....
Joined: Mar 28, 2006 Posts: 1497 Location: Kansas City, Mo USA
Audio files: 45
Posted: Tue Jan 01, 2013 4:08 pm Post subject:
dalekay wrote:
what butt recorded is pitched up ... why?
so I am not sure I am going to be able to figure out what pitch up it did to try to correct it. I toyed with it a bit last night, got frustrated and turned off the systems ...
I had 2 cameras on and a DAT too, not sure what got recorded there. If I manage to get un-dispointed with it, I might dump the cards and see.
I also saw some notes on buffering going on ... not sure what got out and was heard ....
Since Butt runs at 44.1khz, its archives are recorded at 44.1. Perhaps the playback is running at 48khz? _________________ -- Kevin http://kevinkissinger.com
Joined: Nov 09, 2011 Posts: 31 Location: USA
Audio files: 3
Posted: Tue Jan 01, 2013 5:01 pm Post subject:
My Live Stream Recording from NYE2012 Subject description: Pulse Meditation
Performed solo by Doug Lynner on The Mystery Serge with a Cyndustries six-pack. No Keyboard, delay or reverb used. A single 8-stage sequence powers 4 voices through an Analog Shift Register.
Serge Tcherepnin said of the piece while listening to the concert in Paris, "Who wants music that's gross, post-modern, minimalist schmalz for large oily orchestras? Your sounds are delicate like butterfly wings flapping in the neon twilight light in places like where the old Saugus Café used to hang. Thanks Doug "
Posted: Tue Jan 01, 2013 6:51 pm Post subject:
redgreenblue NYE Live Set
Here is the set from NYE. The whole set was improved around step sequences I composed with the iPad app Magellan whilst flying from San Francisco to NYC the day before. The main sequences are all Magellan, the other main arpeggiator is an Novation X-Station and some arps from my Roland SH-32. The other keyboards are a Six-Trak, Juno-106 and JX-8P. The drums are Logic's Ultrabeat.
Oh yah, almost forgot my MG-1. Love that damn thing.
Posted: Wed Jan 02, 2013 5:33 am Post subject:
That was great nite!!!!
So many cool sounds i get from your performances!
I am very imprest!
I had download all sets already to enjoy ones more of your sounds!
Thank all artist for this great performance!!!!
I was in my working place and i was not able to bring my main wooden box with bunch of my DIY's synths and sequencers, there fore to be present anyway I took with me laptop and KORG EMX with Earphones//////...
but shit happens - I lost two connectors for Korg and I have to use Korg without Earphones!!!! That was crazy - I plug my earphones instead into left output of Korg but Korg was connected by earphones cable into input of laptop//// so I was very nervous and not so adequate or whatever!
Sorry me!!!! I did try to check output sound and sometimes it was successful but not all that 30 minutes slot! _________________ http://ziart.kz http://www.livestream.com/ziart
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See below. I had played the Yamaha mixer at 
