https://ccrma.stanford.edu/mediawiki/api.php?action=feedcontributions&user=Adnanm&feedformat=atomCCRMA Wiki - User contributions [en]2024-03-29T13:01:02ZUser contributionsMediaWiki 1.24.1https://ccrma.stanford.edu/mediawiki/index.php?title=AES/Meyer&diff=5412AES/Meyer2008-05-21T20:35:16Z<p>Adnanm: </p>
<hr />
<div>Please put your name down if you are going to attend the tour of Meyer Sound in Berkeley.<br />
<br />
The tour will be on '''MONDAY 02 JUNE 2008 @ 13:30'''<br />
<br />
Unfortunately, we cannot move this time around as those cats are pretty busy up there. I imagine the tour will last a couple hours. <br />
So, with this new information, who is coming? Please also indicate if you have a car and how many people you can drive. We are unsure right now if we are going to Caltrain/Bart, or drive. If we do Caltrain/Bart, we need to figure out the exact times of the trains and how to get there. If you volunteer to drive, AES will fill your tank.<br />
<br />
Somebody get us a bus.<br />
<br />
Attending<br />
---------<br />
<br />
* jeff<br />
* luke<br />
* diana<br />
* Gina pending... (I have a junk car...but I'm afraid I can't drive safely...and I have to back to stanford before 7pm...)<br />
* chris (car with space for 3 more)<br />
* Adnan (I has jalopy)</div>Adnanmhttps://ccrma.stanford.edu/mediawiki/index.php?title=AES/Meyer&diff=5411AES/Meyer2008-05-21T20:34:44Z<p>Adnanm: </p>
<hr />
<div>Please put your name down if you are going to attend the tour of Meyer Sound in Berkeley.<br />
<br />
The tour will be on '''MONDAY 02 JUNE 2008 @ 13:30'''<br />
<br />
Unfortunately, we cannot move this time around as those cats are pretty busy up there. I imagine the tour will last a couple hours. <br />
So, with this new information, who is coming? Please also indicate if you have a car and how many people you can drive. We are unsure right now if we are going to Caltrain/Bart, or drive. If we do Caltrain/Bart, we need to figure out the exact times of the trains and how to get there. If you volunteer to drive, AES will fill your tank.<br />
<br />
Somebody get us a bus.<br />
<br />
Attending<br />
---------<br />
<br />
* jeff<br />
* luke<br />
* diana<br />
* Gina pending... (I have a junk car...but I'm afraid I can't drive safely...and I have to back to stanford before 7pm...)<br />
* chris (car with space for 3 more)<br />
* Adnan</div>Adnanmhttps://ccrma.stanford.edu/mediawiki/index.php?title=154-spring-2008/Project2-Checkin&diff=5361154-spring-2008/Project2-Checkin2008-05-12T22:28:07Z<p>Adnanm: </p>
<hr />
<div>= Project One Check-in Sign-up =<br />
<br />
Please choose a slot to come to CCRMA/Listening Room, test your work on a SLOrk machine (or a few), and check-in your project 1 into the SLOrk repository. Please email Ge if none of the times below work for you. Everyone should sign up. Thanks!<br />
<br />
'''date: 2008.5.12, Monday'''<br />
<br />
=== 5pm ===<br />
* - Marisol Jimenez<br />
* - <br />
* - <br />
* - Patricia Martinez<br />
* - <br />
* - Lawrence<br />
<br />
=== 6pm ===<br />
* - Gina<br />
* - Kriz Worin<br />
* - <br />
* - Dirty D<br />
* - Steinununununununn<br />
* -<br />
<br />
=== 7pm ===<br />
* - <br />
* - rob<br />
* - Ethan<br />
* - Brett<br />
* - <br />
* -<br />
<br />
=== 8pm ===<br />
* - Luke<br />
* - Juhan<br />
* - Michael Bergerman<br />
* - Jeffe<br />
* - Jason<br />
* - Adnan<br />
<br />
=== 9pm ===<br />
* - TurnStyle<br />
* - Baek<br />
* - Nick B<br />
* - Hayden<br />
* - Kyle <br />
* - Vasiliy</div>Adnanmhttps://ccrma.stanford.edu/mediawiki/index.php?title=154-spring-2008/Setup&diff=4873154-spring-2008/Setup2008-04-15T22:25:15Z<p>Adnanm: </p>
<hr />
<div>Each member in the ensemble will be required to sign up to setup/teardown around class. '''Each person should sign-up next to 5 slots/bullet points below'''<br />
<br />
Setup: arrive by 4:45pm Tuesday<br />
Teardown: after class ends around 8:30pm Tuesday<br />
<br />
== 4/15 ==<br />
=== Setup ===<br />
* Nick B<br />
* Diana S<br />
*Reed A.<br />
* Juhan<br />
* Michael Berger<br />
* Gina<br />
* Cooper Jeffreys<br />
* Rob<br />
* Chris<br />
* Steinunn<br />
<br />
=== Teardown ===<br />
* Nick B<br />
* Juhan<br />
* Luke D<br />
* Lawrence<br />
* Jeffrey Cooper<br />
* Rob<br />
* David<br />
* Steinunn<br />
* Baek<br />
*<br />
<br />
== 4/22 ==<br />
=== Setup ===<br />
* Diana S<br />
* Jieun<br />
* Luke D<br />
*reed A Esq.<br />
* Gina<br />
* Rob<br />
* Chris<br />
* Steinunn<br />
*<br />
*<br />
<br />
=== Teardown ===<br />
* Nick B<br />
* Jason R<br />
* Michael Berger<br />
* Adnan<br />
* Lawrence<br />
* Rob<br />
* David<br />
* Baek<br />
* Steinunn<br />
*<br />
<br />
== 4/29 ==<br />
=== IN DINK (everyone is expected to setup/teardown) ===<br />
<br />
== 5/6 ==<br />
=== Setup ===<br />
* Diana S<br />
* Jieun<br />
*Reed<br />
* Michael Berger<br />
* Gina<br />
* Juhan<br />
* Rob<br />
* Chris<br />
* Baek<br />
* Steinunn<br />
<br />
=== Teardown ===<br />
* Jason R<br />
* EMH<br />
* Brett<br />
* Lawrence<br />
* Juhan<br />
* Luke D<br />
* David<br />
* Kyle<br />
* Adnan<br />
*<br />
<br />
== 5/13 ==<br />
=== Setup ===<br />
* Diana S (rockstar)<br />
* Jieun<br />
*Reed<br />
* Haydizzle<br />
* Gina<br />
* Luke D<br />
* Chris<br />
* <br />
*<br />
*<br />
<br />
=== Teardown ===<br />
* Jason R<br />
* Michael Berger<br />
* EMH<br />
* Brett<br />
* Lawrence<br />
* David<br />
* Baek<br />
* Kyle<br />
* Adnan<br />
*<br />
<br />
== 5/20 ==<br />
=== Setup ===<br />
* Diana S<br />
* Jieun<br />
*Reed<br />
* Michael Berger<br />
* Gina<br />
* Max<br />
* Chris<br />
* Baek<br />
*<br />
*<br />
<br />
=== Teardown ===<br />
* Jason R<br />
* EMH<br />
* Brett<br />
* Lawrence<br />
* Luke D<br />
* David<br />
* Kyle<br />
* Adnan<br />
*<br />
*<br />
<br />
== 5/27 ==<br />
=== Setup ===<br />
* Diana S<br />
* Jieun<br />
* Juhan<br />
* Haydizzin'<br />
* Gina<br />
* Max<br />
* Kyle<br />
*<br />
*<br />
*<br />
<br />
=== Teardown ===<br />
* Jason R<br />
* Juhan<br />
* Michael Berger<br />
* EMH<br />
* Brett<br />
* Max<br />
* David<br />
*<br />
*<br />
*<br />
<br />
== 6/3 ==<br />
=== Setup ===<br />
* Nick B<br />
* Diana S<br />
* Jieun<br />
* Michael Berger<br />
* Gina<br />
* Max<br />
*<br />
*<br />
*<br />
*<br />
<br />
=== Teardown ===<br />
* Nick B <br />
* EMH<br />
* Brett<br />
* Max<br />
* David<br />
* Kyle<br />
*<br />
*<br />
*<br />
*</div>Adnanmhttps://ccrma.stanford.edu/mediawiki/index.php?title=154-spring-2008/Maker_Faire&diff=4806154-spring-2008/Maker Faire2008-04-14T23:04:05Z<p>Adnanm: </p>
<hr />
<div>We'd like to ask for volunteer to go with SLOrk to perform and present at the CCRMA/BACMT booth at the [http://makerfaire.com/ Maker Faire] in San Mateo. 5/3 and 5/4. Please indicate if you are available for both days, or only one, or part of one.<br />
<br />
== Volunteers ==<br />
* Diana S (both)<br />
* Luke D (both or either)<br />
* Jieun (Saturday for sure, Sunday if after 1pm)<br />
* Juhan (Saturday only)<br />
* Chris (and I'm bringing my piano)<br />
* EMH (Both/Either)<br />
* Adnan (both?/either?)<br />
*<br />
*</div>Adnanmhttps://ccrma.stanford.edu/mediawiki/index.php?title=154-spring-2008/Setup&diff=4805154-spring-2008/Setup2008-04-14T22:59:49Z<p>Adnanm: </p>
<hr />
<div>Each member in the ensemble will be required to sign up to setup/teardown around class. '''Each person should sign-up next to 5 slots/bullet points below'''<br />
<br />
Setup: arrive by 4:45pm Tuesday<br />
Teardown: after class ends around 8:30pm Tuesday<br />
<br />
== 4/15 ==<br />
=== Setup ===<br />
* Nick B<br />
* Diana S<br />
*Reed A.<br />
* Juhan<br />
* Michael Berger<br />
*<br />
*<br />
*<br />
*<br />
*<br />
<br />
=== Teardown ===<br />
* Nick B<br />
* Juhan<br />
* Luke D<br />
*<br />
*<br />
*<br />
*<br />
*<br />
*<br />
*<br />
<br />
== 4/22 ==<br />
=== Setup ===<br />
* Diana S<br />
* Jieun<br />
* Luke D<br />
*reed A Esq.<br />
*<br />
*<br />
*<br />
*<br />
*<br />
*<br />
<br />
=== Teardown ===<br />
* Nick B<br />
* Jason R<br />
* Michael Berger<br />
* Adnan<br />
*<br />
*<br />
*<br />
*<br />
*<br />
*<br />
<br />
== 4/29 ==<br />
=== IN DINK ===<br />
* Diana S<br />
* Jieun<br />
* Juhan<br />
* Adnan<br />
<br />
== 5/6 ==<br />
=== Setup ===<br />
* Diana S<br />
* Jieun<br />
*Reed<br />
* Michael Berger<br />
*<br />
*<br />
*<br />
*<br />
*<br />
*<br />
<br />
=== Teardown ===<br />
* Jason R<br />
* EMH<br />
*<br />
*<br />
*<br />
*<br />
*<br />
*<br />
*<br />
*<br />
<br />
== 5/13 ==<br />
=== Setup ===<br />
* Diana S (rockstar)<br />
* Jieun<br />
*Reed<br />
*<br />
*<br />
*<br />
*<br />
*<br />
*<br />
*<br />
<br />
=== Teardown ===<br />
* Jason R<br />
* Michael Berger<br />
* EMH<br />
*<br />
*<br />
*<br />
*<br />
*<br />
*<br />
*<br />
<br />
== 5/20 ==<br />
=== Setup ===<br />
* Diana S<br />
* Jieun<br />
*Reed<br />
* Michael Berger<br />
*<br />
*<br />
*<br />
*<br />
*<br />
*<br />
<br />
=== Teardown ===<br />
* Jason R<br />
* EMH<br />
*<br />
*<br />
*<br />
*<br />
*<br />
*<br />
*<br />
*<br />
<br />
== 5/27 ==<br />
=== Setup ===<br />
* Diana S<br />
* Jieun<br />
* Juhan<br />
*<br />
*<br />
*<br />
*<br />
*<br />
*<br />
*<br />
<br />
=== Teardown ===<br />
* Jason R<br />
* Juhan<br />
* Michael Berger<br />
* EMH<br />
*<br />
*<br />
*<br />
*<br />
*<br />
*<br />
<br />
== 6/3 ==<br />
=== Setup ===<br />
* Nick B<br />
* Diana S<br />
* Jieun<br />
* Michael Berger<br />
*<br />
*<br />
*<br />
*<br />
*<br />
*<br />
<br />
=== Teardown ===<br />
* Nick B <br />
* EMH<br />
* <br />
*<br />
*<br />
*<br />
*<br />
*<br />
*<br />
*</div>Adnanmhttps://ccrma.stanford.edu/mediawiki/index.php?title=Music&diff=3971Music2008-02-10T00:10:29Z<p>Adnanm: </p>
<hr />
<div>'''Chris Warren'''<br />
<br />
[http://www.alloyelectric.com/music/radioplay.mp3 Radio Play (stereo downmix)]: This piece drowns the listener in a sonic reimagining of the ocean of radio waves surrounding us at all times. To extend that metaphor of immersion, I composed it for the Listening Room.<br />
<br />
[http://www.alloyelectric.com/music/halcyonic.mp3 Halcyonic], written for that feedback piano lurking around up on the stage. This piece was named after a fictitious psychotropic drug that was supposedly removed from the market after its prescriptants experienced vivid nightmares.<br />
<br />
[http://www.alloyelectric.com/music/phoningitin.mp3 Phoning it In (stereo downmix)], for eleven (asynchronous) cell phones.<br />
<br />
[http://www.alloyelectric.com/music/errormap.mp3 Error:Map], for 8-string and electronics.<br />
<br />
<br />
'''Adnan Marquez-Borbon'''<br />
<br />
[http://ccrma.stanford.edu/~adnanm Adnan's CCRMA page]: Here's my CCRMA homepage in which you will find an assortment of pieces and some links.</div>Adnanmhttps://ccrma.stanford.edu/mediawiki/index.php?title=Music&diff=3970Music2008-02-10T00:08:58Z<p>Adnanm: </p>
<hr />
<div>'''Chris Warren'''<br />
<br />
[http://www.alloyelectric.com/music/radioplay.mp3 Radio Play (stereo downmix)]: This piece drowns the listener in a sonic reimagining of the ocean of radio waves surrounding us at all times. To extend that metaphor of immersion, I composed it for the Listening Room.<br />
<br />
[http://www.alloyelectric.com/music/halcyonic.mp3 Halcyonic], written for that feedback piano lurking around up on the stage. This piece was named after a fictitious psychotropic drug that was supposedly removed from the market after its prescriptants experienced vivid nightmares.<br />
<br />
[http://www.alloyelectric.com/music/phoningitin.mp3 Phoning it In (stereo downmix)], for eleven (asynchronous) cell phones.<br />
<br />
[http://www.alloyelectric.com/music/errormap.mp3 Error:Map], for 8-string and electronics.<br />
<br />
<br />
'''Adnan Marquez-Borbon'''<br />
<br />
[http://ccrma.stanford.edu/~adnanm/]: Here's my CCRMA Homepage in which you will find an assortment of pieces and some links.</div>Adnanmhttps://ccrma.stanford.edu/mediawiki/index.php?title=Feedback_automation&diff=3422Feedback automation2007-12-13T16:50:19Z<p>Adnanm: </p>
<hr />
<div>==CONCEPT==<br />
This project was inspired by the use of feedback as a performance practice by British saxophonist John Butcher.<br />
<br />
==IMPLEMENTATION==<br />
Normally this practice is done with a simple dynamic microphone and an amp or PA system. My idea is to implement the use of a PD patch as a way of both automatically controlling dynamic volume of the feedback gain and the frequencies selected by a band-pass filter. Another addition to this idea was to have quadraphonic spatilization that is also automatic.<br />
<br />
==PD==<br />
The patch itself is pretty simple and consists of three basic sections:<br />
#Feedback loop- set up by two delay lines<br />
#Band-pass filters- three filter for each delay line<br />
#Spatialization- done by vbap (vector based amplitude panning)<br />
<br />
==PATCH DESCRIPTION==<br />
The key object in this patch is the fiddle~ object. It provides frequency and note(midi) information, as well as amplitude data. It can also output several frequency components of the input signal. All of this data provided by the object is used to control the band-pass filters and the vbap variables.<br />
The vbap object...(more info soon to come on this) does the panning for a variable number of speaker arrays. In this case I used four speakers.</div>Adnanmhttps://ccrma.stanford.edu/mediawiki/index.php?title=Feedback_automation&diff=3421Feedback automation2007-12-13T16:50:07Z<p>Adnanm: </p>
<hr />
<div>==CONCEPT==<br />
This project was inspired by the use of feedback as a performance practice by British saxophonist John Butcher.<br />
<br />
==IMPLEMENTATION==<br />
Normally this practice is done with a simple dynamic microphone and an amp or PA system. My idea is to implement the use of a PD patch as a way of both automatically controlling dynamic volume of the feedback gain and the frequencies selected by a band-pass filter. Another addition to this idea was to have quadraphonic spatilization that is also automatic.<br />
<br />
==PD==<br />
The patch itself is pretty simple and consists of three basic sections:<br />
#Feedback loop- set up by two delay lines<br />
#Band-pass filters- three filter for each delay line<br />
#Spatialization- done by vbap (vector based amplitude panning)<br />
<br />
==PATCH DESCRIPTION==<br />
The key object in this patch is the fiddle~ object. It provides frequency and note(midi) information, as well as amplitude data. It can also output several frequency components of the input signal. All of this data provided by the object is used to control the band-pass filters and the vbap variables.<br />
The vbap object...(more info soon to come on this)does the panning for a variable number of speaker arrays. In this case I used four speakers.</div>Adnanmhttps://ccrma.stanford.edu/mediawiki/index.php?title=220a-fall2007/finalprojects/ChrisWeil&diff=3420220a-fall2007/finalprojects/ChrisWeil2007-12-13T16:47:48Z<p>Adnanm: </p>
<hr />
<div></div>Adnanmhttps://ccrma.stanford.edu/mediawiki/index.php?title=Feedback_automation&diff=3419Feedback automation2007-12-13T16:47:19Z<p>Adnanm: </p>
<hr />
<div>==CONCEPT==<br />
This project was inspired by the use of feedback as a performance practice by British saxophonist John Butcher.<br />
<br />
==IMPLEMENTATION==<br />
Normally this practice is done with a simple dynamic microphone and an amp or PA system. My idea is to implement the use of a PD patch as a way of both automatically controlling dynamic volume of the feedback gain and the frequencies selected by a band-pass filter. Another addition to this idea was to have quadraphonic spatilization that is also automatic.<br />
<br />
==PD==<br />
The patch itself is pretty simple and consists of three basic sections:<br />
#Feedback loop- set up by two delay lines<br />
#Band-pass filters- three filter for each delay line<br />
#Spatialization- done by vbap (vector based amplitude panning)<br />
<br />
==PATCH DESCRIPTION==<br />
The key object in this patch is the fiddle~ object. It provides frequency and note(midi) information, as well as amplitude data. It can also output several frequency components of the input signal. All of this data provided by the object is used to control the band-pass filters and the vbap variables.<br />
The vbap object...does the panning for a variable number of speaker arrays. In this case I used four speakers.</div>Adnanmhttps://ccrma.stanford.edu/mediawiki/index.php?title=220a-fall-2007/finalprojects&diff=3418220a-fall-2007/finalprojects2007-12-13T16:46:51Z<p>Adnanm: </p>
<hr />
<div>220a Final Projects Wiki<br />
<br />
<br />
Click the edit tab to create your wiki from a link below.<br />
<br />
<br />
* [[MultiGrain_Granular_Synthesis_in_Chuck |Baek San Chang - Granular Synthesis in Chuck]]<br />
<br />
<br />
* [[Laptop-Based Step Sequencer |Susan Nourse - Laptop-Based Step Sequencer]]<br />
<br />
<br />
* [[Feedback automation |Adnan Marquez-Borbon - Feedback automation]]<br />
<br />
<br />
* [[220a-fall2007/finalprojects/yourpage |YOUR FINAL PROJECT PAGE HERE]]<br />
<br />
<br />
* [[220a-fall2007/finalprojects/yourpage |YOUR FINAL PROJECT PAGE HERE]]<br />
<br />
<br />
* [[220a-fall2007/finalprojects/yourpage |YOUR FINAL PROJECT PAGE HERE]]<br />
<br />
<br />
* [[220a-fall2007/finalprojects/yourpage |YOUR FINAL PROJECT PAGE HERE]]<br />
<br />
<br />
* [[220a-fall2007/finalprojects/yourpage |YOUR FINAL PROJECT PAGE HERE]]<br />
<br />
<br />
* [[220a-fall2007/finalprojects/yourpage |YOUR FINAL PROJECT PAGE HERE]]<br />
<br />
<br />
* [[220a-fall2007/finalprojects/yourpage |YOUR FINAL PROJECT PAGE HERE]]</div>Adnanmhttps://ccrma.stanford.edu/mediawiki/index.php?title=220a-fall2007/finalprojects/ChrisWeil&diff=3417220a-fall2007/finalprojects/ChrisWeil2007-12-13T16:32:13Z<p>Adnanm: </p>
<hr />
<div>==CONCEPT==<br />
This project was inspired by the use of feedback as a performance practice by British saxophonist John Butcher.<br />
<br />
==IMPLEMENTATION==<br />
Normally this practice is done with a simple dynamic microphone and an amp or PA system. My idea is to implement the use of a PD patch as a way of both automatically controlling dynamic volume of the feedback gain and the frequencies selected by a band-pass filter. Another addition to this idea was to have quadraphonic spatilization that is also automatic.<br />
<br />
==PD==<br />
The patch itself is pretty simple and consists of three basic sections:<br />
#Feedback loop- set up by two delay lines<br />
#Band-pass filters- three filter for each delay line<br />
#Spatialization- done by vbap (vector based amplitude panning)<br />
<br />
==PATCH DESCRIPTION==<br />
The key object in this patch is the fiddle~ object. It provides frequency and note(midi) information, as well as amplitude data. It can also output several frequency components of the input signal. All of this data provided by the object is used to control the band-pass filters and the vbap variables.<br />
The vbap object...does the panning for a variable number of speaker arrays. In this case I used four speakers.</div>Adnanmhttps://ccrma.stanford.edu/mediawiki/index.php?title=220a-fall-2007/fpmeetings&diff=3150220a-fall-2007/fpmeetings2007-11-26T17:14:44Z<p>Adnanm: </p>
<hr />
<div>FINAL PROJECT MEETINGS<br />
<br />
TO SIGN UP:<br />
Click the "edit" tab, login with your CCRMA username and password. Add your name to a numbered spot.<br />
<br />
''Meetings held in/around the CCRMA lounge (3rd floor).''<br />
<br />
<br />
'''''Monday, 26 November'''''<br />
<br />
'''10am:'''<br />
<br />
1) name here<br />
<br />
2) Blairbo<br />
<br />
3) Alena Kuczynski<br />
<br />
4) name here<br />
<br />
5) name here<br />
<br />
'''11am:'''<br />
<br />
1) name here<br />
<br />
2) Baek Chang<br />
<br />
3) Turner Kirk<br />
<br />
4) Steinunn Arnardottir<br />
<br />
5) Nick Bryan<br />
<br />
'''1pm:'''<br />
<br />
1) El Jeffe Cooper<br />
<br />
2) Hay-dizzle<br />
<br />
3) Dennis<br />
<br />
4) Alex Medearis<br />
<br />
5) Style Krapps<br />
<br />
<br />
'''2pm:'''<br />
<br />
1) Gina<br />
<br />
2) Kimberly Johnson<br />
<br />
3) Jennifer Evans<br />
<br />
4) name here<br />
<br />
5) name here<br />
<br />
<br />
'''3pm:'''<br />
<br />
1) Jason Riggs<br />
<br />
2) name here<br />
<br />
3) name here<br />
<br />
4) name here<br />
<br />
5) name here<br />
<br />
<br />
'''''Wednesday, 28 November'''''<br />
<br />
'''10am:'''<br />
<br />
1) name here<br />
<br />
2) name here<br />
<br />
3) name here<br />
<br />
4) name here<br />
<br />
5) name here<br />
<br />
6) name here<br />
<br />
<br />
'''11am:'''<br />
<br />
1) Reed Anderson<br />
<br />
2) Michael Perl<br />
<br />
3) Chris Warren<br />
<br />
4) Susan Nourse<br />
<br />
5) Adnan<br />
<br />
6) Diana Siwiak</div>Adnanmhttps://ccrma.stanford.edu/mediawiki/index.php?title=Performance_Paradigms&diff=3060Performance Paradigms2007-11-06T22:09:21Z<p>Adnanm: </p>
<hr />
<div>[[:Category:Projects]]<br />
<br />
This page is a forum to discuss live performance with electronics as a general topic but also as specifically relates to our upcoming show at CellSpace on November 30th. <br />
<br />
As it stands right now, the general concept is to perform together as an ensemble for the duration of our half hour of allotted time. So let's get creative. When we played at KZSU it was more or less a jam with very little preconceived structure. I think it's time to move beyond that, at least a little.<br />
<br />
<br />
First a quick rundown of who's going to be in on this. Please add your name to the list below along with a detailed description of what instrument you intend to play (i.e. if you write "laptop" please elaborate further).<br />
<br />
'''The Ensemble so far:'''<br />
<br />
Chris Warren: 8-string bass, mixing<br><br />
Adnan Marquez: saxophone, sampler<br><br />
Gina (Gu Yiqing): laptop, flute<br><br />
Diana Siwiak: flute, laptop<br><br />
Colin Gilboy: paper, pencil, wires and laptop (explain later)<br> <br />
Ethan M. Hartman: guitar, box amp, voice, etc<br><br />
(you) <br><br />
<br />
<br />
<br />
Ok, now that that's out of the way, let's get down to business...<br />
<br />
Here's where we put the ideas. PLEASE add/edit/elaborate, but let's not erase anything just yet. <br />
<br />
<br />
*****Idea #1: Series<br />
<br />
All of the people who are performing on laptops wire themselves as a chain, the output of each going into the input of the next. So each person takes the sound of the person before them and modifies it before passing it on. Kinda like a big game of telephone. The last person in the chain sends their sound to the audience, but also back to the first person in the chain. <br><br />
(1 vote from Gina!)<br />
<br />
<br />
*****Idea#2: Chuck Choir<br />
<br />
Each laptop player is given a sample and a simple Chuck script. The script is a basic Karplus-Strong-style recursive lowpass filter, so when you change the delay time, you change the resonant pitch of the sample. By modifying this time, and adding and replacing shreds, each player can create a chorus of their own sample and the group as a whole becomes a wall of sound. A lead player structures the piece by indicating density (any volunteers?) <br><br />
(1 vote from Gina!!)<br />
<br />
<br />
*****Idea #3: Drum Machine Circle<br />
<br />
At a specific time, we all start short percussive loops at the same tempo. Each person then unplugs from the main PA and we disperse through the audience, playing through our laptop speakers. Then we let the phasing work its magic. This would probably be cool as a set closer. Ladies and gentlemen, the MSTs have left the building. <br><br />
(1 vote from Gina!!!)<br />
<br />
<br />
<br />
*****Idea #4: Slowly, Loudly<br />
<br />
Sort of a drone piece. Each player makes a continuous sound and tries to change it AS SLOWLY AS POSSIBLE. The desired effect would be a cumulative block of sound that, while it clearly has a certain shimmer to it, displays no obvious movement that the listener can discern. <br><br />
(1 vote from Gina!!!!)<br />
<br />
*****Idea #5: Semi-composed <br />
<br />
I (emh) come from a bit of a jazz/improv background, where often times we work with pre-composed melodies and go from there. Obviously this might not be as conceptual as some of the other ideas, but we could start with a composed melody, with a pre-arranged setting, and do some improv from there...build some structures, do a bit of arranging. I've been thinking of Eddie Harris' "Freedom Jazz Dance" which is performed on the Miles Davis Quintet's "Miles Smiles." It's basically a melody, and only has a loose harmonic framework, so I think it might work well getting de-constructed, taken apart into loops, etc. We could pass it around like jazz improvisers, breaking up the roles, or build some other kind of arrangements there.<br />
<br />
<br />
*****Idea #6: NOISE!!!<br />
<br />
We should start the set with 1-2 minutes of pure noise...LOUD AND BEAUTIFUL NOISE!!! Here we are free to do whatever we want and go bat-s#!& crazy for a bit. Afterwards we segue into a "piece". How's that for a shocker?<br />
<br />
*****Idea #7: Your Idea<br />
<br />
Gina: see...I have voted for everything:P even blow different size of bottles~<br />
<br />
<br />
<br />
*****General remark: I think everyone that is performing should have a very simple/streamlined setup in order to 1) simplify setup/breakdown, and 2) make the performance more dynamic. How? well, the main problem with computer/electronic music is that the reaction time from a performer is greatly reduced because he/she is concerned mostly with what is being displayed on the screen. So, not much attention is being put on the overall sound and the actual musical event. By reducing distractions it is possible to create a situation in which people actually listen to others and can make some good music...what a concept! <br />
A thorough working knowledge of your gear/instrument and some sort of "virtuosity" is also needed to facilitate things even further and make them more interesting. <br />
This key when doing improv otherwise your just fooling around. My next point is related to the "pieces". In reality we will play 3 or at most 4 tunes due to the 30min set. So we should definitely have a planned set list. <br />
If we are indeed jamming for one piece we should try to time it and have some strong improvisers leading the pack. All of the above mentioned piece ideas are good, but I suggest trying to break the conventional electronic music performance model. How? don't know, let's get together and think! Otherwise, it will be a "it was cool for...hmm...like 5 minutes" performance and that sucks. (AMB) <br />
<br />
<br />
<br />
As far as rehearsals go, I doubt we have the time for much as the end of the quarter looms near. So instead, I propose we develop our ideas on this forum to the extent we can and then once they've taken shape, we have a single rehearsal a few days before the show.<br />
<br />
<br />
Oh, and as a final note, Carr asked if we had a name. Any suggestions?<br />
<br />
"Ma/msturbators?"<br><br />
"Maladies Sexuellement Transmises"<br><br />
<br />
“In composing, as a general rule, run your pen through every other note you have written; you have no idea what vigor it will give your style.”</div>Adnanmhttps://ccrma.stanford.edu/mediawiki/index.php?title=Performance_Paradigms&diff=3059Performance Paradigms2007-11-06T22:08:40Z<p>Adnanm: </p>
<hr />
<div>[[:Category:Projects]]<br />
<br />
This page is a forum to discuss live performance with electronics as a general topic but also as specifically relates to our upcoming show at CellSpace on November 30th. <br />
<br />
As it stands right now, the general concept is to perform together as an ensemble for the duration of our half hour of allotted time. So let's get creative. When we played at KZSU it was more or less a jam with very little preconceived structure. I think it's time to move beyond that, at least a little.<br />
<br />
<br />
First a quick rundown of who's going to be in on this. Please add your name to the list below along with a detailed description of what instrument you intend to play (i.e. if you write "laptop" please elaborate further).<br />
<br />
'''The Ensemble so far:'''<br />
<br />
Chris Warren: 8-string bass, mixing<br><br />
Adnan Marquez: saxophone, sampler<br><br />
Gina (Gu Yiqing): laptop, flute<br><br />
Diana Siwiak: flute, laptop<br><br />
Colin Gilboy: paper, pencil, wires and laptop (explain later)<br> <br />
Ethan M. Hartman: guitar, box amp, voice, etc<br><br />
(you) <br><br />
<br />
<br />
<br />
Ok, now that that's out of the way, let's get down to business...<br />
<br />
Here's where we put the ideas. PLEASE add/edit/elaborate, but let's not erase anything just yet. <br />
<br />
<br />
*****Idea #1: Series<br />
<br />
All of the people who are performing on laptops wire themselves as a chain, the output of each going into the input of the next. So each person takes the sound of the person before them and modifies it before passing it on. Kinda like a big game of telephone. The last person in the chain sends their sound to the audience, but also back to the first person in the chain. <br><br />
(1 vote from Gina!)<br />
<br />
<br />
*****Idea#2: Chuck Choir<br />
<br />
Each laptop player is given a sample and a simple Chuck script. The script is a basic Karplus-Strong-style recursive lowpass filter, so when you change the delay time, you change the resonant pitch of the sample. By modifying this time, and adding and replacing shreds, each player can create a chorus of their own sample and the group as a whole becomes a wall of sound. A lead player structures the piece by indicating density (any volunteers?) <br><br />
(1 vote from Gina!!)<br />
<br />
<br />
*****Idea #3: Drum Machine Circle<br />
<br />
At a specific time, we all start short percussive loops at the same tempo. Each person then unplugs from the main PA and we disperse through the audience, playing through our laptop speakers. Then we let the phasing work its magic. This would probably be cool as a set closer. Ladies and gentlemen, the MSTs have left the building. <br><br />
(1 vote from Gina!!!)<br />
<br />
<br />
<br />
*****Idea #4: Slowly, Loudly<br />
<br />
Sort of a drone piece. Each player makes a continuous sound and tries to change it AS SLOWLY AS POSSIBLE. The desired effect would be a cumulative block of sound that, while it clearly has a certain shimmer to it, displays no obvious movement that the listener can discern. <br><br />
(1 vote from Gina!!!!)<br />
<br />
*****Idea #5: Semi-composed <br />
<br />
I (emh) come from a bit of a jazz/improv background, where often times we work with pre-composed melodies and go from there. Obviously this might not be as conceptual as some of the other ideas, but we could start with a composed melody, with a pre-arranged setting, and do some improv from there...build some structures, do a bit of arranging. I've been thinking of Eddie Harris' "Freedom Jazz Dance" which is performed on the Miles Davis Quintet's "Miles Smiles." It's basically a melody, and only has a loose harmonic framework, so I think it might work well getting de-constructed, taken apart into loops, etc. We could pass it around like jazz improvisers, breaking up the roles, or build some other kind of arrangements there.<br />
<br />
<br />
*****Idea #6: NOISE!!!<br />
<br />
We should start the set with 1-2 minutes of pure noise...LOUD AND BEAUTIFUL NOISE!!! Here we are free to do whatever we want and go bat-s#!& crazy for a bit. Afterwards we segue into a "piece". How's that for a shocker.<br />
<br />
*****Idea #7: Your Idea<br />
<br />
Gina: see...I have voted for everything:P even blow different size of bottles~<br />
<br />
<br />
<br />
*****General remark: I think everyone that is performing should have a very simple/streamlined setup in order to 1) simplify setup/breakdown, and 2) make the performance more dynamic. How? well, the main problem with computer/electronic music is that the reaction time from a performer is greatly reduced because he/she is concerned mostly with what is being displayed on the screen. So, not much attention is being put on the overall sound and the actual musical event. By reducing distractions it is possible to create a situation in which people actually listen to others and can make some good music...what a concept! <br />
A thorough working knowledge of your gear/instrument and some sort of "virtuosity" is also needed to facilitate things even further and make them more interesting. <br />
This key when doing improv otherwise your just fooling around. My next point is related to the "pieces". In reality we will play 3 or at most 4 tunes due to the 30min set. So we should definitely have a planned set list. <br />
If we are indeed jamming for one piece we should try to time it and have some strong improvisers leading the pack. All of the above mentioned piece ideas are good, but I suggest trying to break the conventional electronic music performance model. How? don't know, let's get together and think! Otherwise, it will be a "it was cool for...hmm...like 5 minutes" performance and that sucks. (AMB) <br />
<br />
<br />
<br />
As far as rehearsals go, I doubt we have the time for much as the end of the quarter looms near. So instead, I propose we develop our ideas on this forum to the extent we can and then once they've taken shape, we have a single rehearsal a few days before the show.<br />
<br />
<br />
Oh, and as a final note, Carr asked if we had a name. Any suggestions?<br />
<br />
"Ma/msturbators?"<br><br />
"Maladies Sexuellement Transmises"<br><br />
<br />
“In composing, as a general rule, run your pen through every other note you have written; you have no idea what vigor it will give your style.”</div>Adnanmhttps://ccrma.stanford.edu/mediawiki/index.php?title=Performance_Paradigms&diff=3038Performance Paradigms2007-11-05T09:03:09Z<p>Adnanm: </p>
<hr />
<div>[[:Category:Projects]]<br />
<br />
This page is a forum to discuss live performance with electronics as a general topic but also as specifically relates to our upcoming show at CellSpace on November 30th. <br />
<br />
As it stands right now, the general concept is to perform together as an ensemble for the duration of our half hour of allotted time. So lets get creative. When we played at KZSU it was more or less a jam with very little preconceived structure. I think it's time to move beyond that, at least a little.<br />
<br />
<br />
First a quick rundown of who's going to be in on this. Please add your name to the list below along with a detailed description of what instrument you intend to play (i.e. if you write "laptop" please elaborate further).<br />
<br />
'''The Ensemble so far:'''<br />
<br />
Chris Warren: 8-string bass, mixing<br><br />
Adnan Marquez: saxophone, sampler<br><br />
Gina (Gu Yiqing): laptop, flute<br><br />
(you) <br><br />
<br />
<br />
<br />
Ok, now that that's out of the way, lets get down to business...<br />
<br />
Here's where we put the ideas. PLEASE add/edit/elaborate, but let's not erase anything just yet. <br />
<br />
<br />
*****Idea #1: Series<br />
<br />
All of the people who are performing on laptops wire themselves as a chain, the output of each going into the input of the next. So each person takes the sound of the person before them and modifies it before passing it on. Kinda like a big game of telephone. The last person in the chain sends their sound to the audience, but also back to the first person in the chain. <br><br />
(1 vote from Gina!)<br />
<br />
<br />
<br />
*****Idea#2: Chuck Choir<br />
<br />
Each laptop player is given a sample and a simple Chuck script. The script is a basic Karplus-Strong-style recursive lowpass filter, so when you change the delay time, you change the resonant pitch of the sample. By modifying this time, and adding and replacing shreds, each player can create a chorus of their own sample and the group as a whole becomes a wall of sound. A lead player structures the piece by indicating density (any volunteers?) <br><br />
(1 vote from Gina!!)<br />
<br />
<br />
<br />
*****Idea #3: Drum Machine Circle<br />
<br />
At a specific time, we all start short percussive loops at the same tempo. Each person then unplugs from the main PA and we disperse through the audience, playing through our laptop speakers. Then we let the phasing work its magic. This would probably be cool as a set closer. Ladies and gentlemen, the MSTs have left the building. <br><br />
(1 vote from Gina!!!)<br />
<br />
<br />
<br />
*****Idea #4: Slowly, Loudly<br />
<br />
Sort of a drone piece. Each player makes a continuous sound and tries to change it AS SLOWLY AS POSSIBLE. The desired effect would be a cumulative block of sound that, while it clearly has a certain shimmer to it, displays no obvious movement that the listener can discern. <br><br />
(1 vote from Gina!!!!)<br />
<br />
<br />
<br />
*****Idea #5: Your Idea<br />
<br />
Gina: see...I have voted for everything:P even blow different size of bottles~<br />
<br />
*****General remark: I think everyone that is performing should have a very simple/streamlined setup in order to 1) simplify setup/breakdown, and 2) make the performance more dynamic. How? well, the main problem with computer/electronic music is that the reaction time from a performer is greatly reduced because he/she is concerned mostly with what is being displayed on the screen. So, not much attention is being put on the overall sound and the actual musical event. By reducing distractions it is possible to create a situation in which people actually listen to others and can make some good music...what a concept! <br />
A thorough working knowledge of your gear/instrument and some sort of "virtuosity" is also needed to facilitate things even further and make them more interesting. <br />
This key when doing improv otherwise your just fooling around. My next point is related to the "pieces". In reality we will play 3 or at most 4 tunes due to the 30min set. So we should definitely have a planned set list. <br />
If we are indeed jamming for one piece we should try to time it and have some strong improvisers leading the pack. All of the above mentioned piece ideas are good, but I suggest trying to break the conventional electronic music performance model. How? don't know, let's get together and think! Otherwise, it will be a "it was cool for...hmm...like 5 minutes" performance and that sucks. (AMB) <br />
<br />
<br />
<br />
As far as rehearsals go, I doubt we have the time for much as the end of the quarter looms near. So instead, I propose we develop our ideas on this forum to the extent we can and then once they've taken shape, we have a single rehearsal a few days before the show.<br />
<br />
<br />
<br />
<br />
“In composing, as a general rule, run your pen through every other note you have written; you have no idea what vigor it will give your style.”</div>Adnanmhttps://ccrma.stanford.edu/mediawiki/index.php?title=Performance_Paradigms&diff=3037Performance Paradigms2007-11-05T09:00:37Z<p>Adnanm: </p>
<hr />
<div>[[:Category:Projects]]<br />
<br />
This page is a forum to discuss live performance with electronics as a general topic but also as specifically relates to our upcoming show at CellSpace on November 30th. <br />
<br />
As it stands right now, the general concept is to perform together as an ensemble for the duration of our half hour of allotted time. So lets get creative. When we played at KZSU it was more or less a jam with very little preconceived structure. I think it's time to move beyond that, at least a little.<br />
<br />
<br />
First a quick rundown of who's going to be in on this. Please add your name to the list below along with a detailed description of what instrument you intend to play (i.e. if you write "laptop" please elaborate further).<br />
<br />
'''The Ensemble so far:'''<br />
<br />
Chris Warren: 8-string bass, mixing<br><br />
Adnan Marquez: saxophone, sampler<br><br />
Gina (Gu Yiqing): laptop, flute<br><br />
(you) <br><br />
<br />
<br />
<br />
Ok, now that that's out of the way, lets get down to business...<br />
<br />
Here's where we put the ideas. PLEASE add/edit/elaborate, but let's not erase anything just yet. <br />
<br />
<br />
*****Idea #1: Series<br />
<br />
All of the people who are performing on laptops wire themselves as a chain, the output of each going into the input of the next. So each person takes the sound of the person before them and modifies it before passing it on. Kinda like a big game of telephone. The last person in the chain sends their sound to the audience, but also back to the first person in the chain. <br><br />
(1 vote from Gina!)<br />
<br />
<br />
<br />
*****Idea#2: Chuck Choir<br />
<br />
Each laptop player is given a sample and a simple Chuck script. The script is a basic Karplus-Strong-style recursive lowpass filter, so when you change the delay time, you change the resonant pitch of the sample. By modifying this time, and adding and replacing shreds, each player can create a chorus of their own sample and the group as a whole becomes a wall of sound. A lead player structures the piece by indicating density (any volunteers?) <br><br />
(1 vote from Gina!!)<br />
<br />
<br />
<br />
*****Idea #3: Drum Machine Circle<br />
<br />
At a specific time, we all start short percussive loops at the same tempo. Each person then unplugs from the main PA and we disperse through the audience, playing through our laptop speakers. Then we let the phasing work its magic. This would probably be cool as a set closer. Ladies and gentlemen, the MSTs have left the building. <br><br />
(1 vote from Gina!!!)<br />
<br />
<br />
<br />
*****Idea #4: Slowly, Loudly<br />
<br />
Sort of a drone piece. Each player makes a continuous sound and tries to change it AS SLOWLY AS POSSIBLE. The desired effect would be a cumulative block of sound that, while it clearly has a certain shimmer to it, displays no obvious movement that the listener can discern. <br><br />
(1 vote from Gina!!!!)<br />
<br />
<br />
<br />
*****Idea #5: Your Idea<br />
<br />
Gina: see...I have voted for everything:P even blow different size of bottles~<br />
<br />
*****General remark: I think everyone that is performing should have a very simple/streamlined setup in order to 1) simplify setup/breakdown, and 2) make the performance more dynamic. How? well, the main problem with computer/electronic music is that the reaction time from a performer is greatly reduced because he/she is concerned mostly with what is being displayed on the screen. So, not much attention is being put on the overall sound and the actual musical event. By reducing distractions it is possible to create a situation in which people actually listen to others and can make some good music...what a concept! <br />
A thorough working knowledge of your gear/instrument and some sort of "virtuosity" is also needed to facilitate things even further and make them more interesting. <br />
This key when doing improv otherwise your just fooling around. My next point is related to the "pieces". In reality we will play 3 or at most 4 tunes due to the 30min set. So we should definitely have a planned set list. <br />
If we are indeed jamming for one piece we should try to time it and have some strong improvisers leading the pack. All of the above mentioned piece ideas are good, but I suggest trying to break the conventional electronic music performance model. How? don't know, let's get together and think! Otherwise, it will be a "it was cool for...hmm...like 5 minutes" performance and that sucks. <br />
<br />
<br />
<br />
As far as rehearsals go, I doubt we have the time for much as the end of the quarter looms near. So instead, I propose we develop our ideas on this forum to the extent we can and then once they've taken shape, we have a single rehearsal a few days before the show.<br />
<br />
<br />
<br />
<br />
“In composing, as a general rule, run your pen through every other note you have written; you have no idea what vigor it will give your style.”</div>Adnanmhttps://ccrma.stanford.edu/mediawiki/index.php?title=Performance_Paradigms&diff=3036Performance Paradigms2007-11-05T08:55:03Z<p>Adnanm: </p>
<hr />
<div>[[:Category:Projects]]<br />
<br />
This page is a forum to discuss live performance with electronics as a general topic but also as specifically relates to our upcoming show at CellSpace on November 30th. <br />
<br />
As it stands right now, the general concept is to perform together as an ensemble for the duration of our half hour of allotted time. So lets get creative. When we played at KZSU it was more or less a jam with very little preconceived structure. I think it's time to move beyond that, at least a little.<br />
<br />
<br />
First a quick rundown of who's going to be in on this. Please add your name to the list below along with a detailed description of what instrument you intend to play (i.e. if you write "laptop" please elaborate further).<br />
<br />
'''The Ensemble so far:'''<br />
<br />
Chris Warren: 8-string bass, mixing<br><br />
Adnan Marquez: saxophone, sampler<br><br />
Gina (Gu Yiqing): laptop, flute<br><br />
(you) <br><br />
<br />
<br />
<br />
Ok, now that that's out of the way, lets get down to business...<br />
<br />
Here's where we put the ideas. PLEASE add/edit/elaborate, but let's not erase anything just yet. <br />
<br />
<br />
*****Idea #1: Series<br />
<br />
All of the people who are performing on laptops wire themselves as a chain, the output of each going into the input of the next. So each person takes the sound of the person before them and modifies it before passing it on. Kinda like a big game of telephone. The last person in the chain sends their sound to the audience, but also back to the first person in the chain. <br><br />
(1 vote from Gina!)<br />
<br />
<br />
<br />
*****Idea#2: Chuck Choir<br />
<br />
Each laptop player is given a sample and a simple Chuck script. The script is a basic Karplus-Strong-style recursive lowpass filter, so when you change the delay time, you change the resonant pitch of the sample. By modifying this time, and adding and replacing shreds, each player can create a chorus of their own sample and the group as a whole becomes a wall of sound. A lead player structures the piece by indicating density (any volunteers?) <br><br />
(1 vote from Gina!!)<br />
<br />
<br />
<br />
*****Idea #3: Drum Machine Circle<br />
<br />
At a specific time, we all start short percussive loops at the same tempo. Each person then unplugs from the main PA and we disperse through the audience, playing through our laptop speakers. Then we let the phasing work its magic. This would probably be cool as a set closer. Ladies and gentlemen, the MSTs have left the building. <br><br />
(1 vote from Gina!!!)<br />
<br />
<br />
<br />
*****Idea #4: Slowly, Loudly<br />
<br />
Sort of a drone piece. Each player makes a continuous sound and tries to change it AS SLOWLY AS POSSIBLE. The desired effect would be a cumulative block of sound that, while it clearly has a certain shimmer to it, displays no obvious movement that the listener can discern. <br><br />
(1 vote from Gina!!!!)<br />
<br />
<br />
<br />
*****Idea #5: Your Idea<br />
<br />
Gina: see...I have voted for everything:P even blow different size of bottles~<br />
<br />
*****General remark: I think everyone that is performing should have a very simple/streamlined setup in order to 1) simplify setup/breakdown, and 2) make the performance more dynamic. How? well, the main problem with computer/electronic music is that the reaction time from a performer is greatly reduced because he/she is concerned mostly with what is being displayed on the screen. So, not much attention is being put on the overall sound and the actual musical event. By reducing distractions it is possible to create a situation in which people actually listen to others and can make some good music...what a concept.<br />
A thorough working knowledge of your gear/instrument and some sort of "virtuosity" is also needed to facilitate things even further and make them more interesting. This key when doing improv otherwise your just fooling around.<br />
My next point is related to the "pieces". In reality we will play 3 or at most 4 tunes due to the 30min set. So we should definitely have a planned set list. So if we are indeed jamming for one piece we should try to time it and have some strong improvisers leading the pack. All of the above mentioned piece ideas are good, but I suggest trying to break the conventional electronic music performance model. How? don't know, let's get together and think! Otherwise, it will be a "it was cool for...hmm...like 5 minutes" performance and that sucks. <br />
<br />
<br />
<br />
As far as rehearsals go, I doubt we have the time for much as the end of the quarter looms near. So instead, I propose we develop our ideas on this forum to the extent we can and then once they've taken shape, we have a single rehearsal a few days before the show.<br />
<br />
<br />
<br />
<br />
“In composing, as a general rule, run your pen through every other note you have written; you have no idea what vigor it will give your style.”</div>Adnanmhttps://ccrma.stanford.edu/mediawiki/index.php?title=Performance_Paradigms&diff=3035Performance Paradigms2007-11-05T08:54:24Z<p>Adnanm: </p>
<hr />
<div>[[:Category:Projects]]<br />
<br />
This page is a forum to discuss live performance with electronics as a general topic but also as specifically relates to our upcoming show at CellSpace on November 30th. <br />
<br />
As it stands right now, the general concept is to perform together as an ensemble for the duration of our half hour of allotted time. So lets get creative. When we played at KZSU it was more or less a jam with very little preconceived structure. I think it's time to move beyond that, at least a little.<br />
<br />
<br />
First a quick rundown of who's going to be in on this. Please add your name to the list below along with a detailed description of what instrument you intend to play (i.e. if you write "laptop" please elaborate further).<br />
<br />
'''The Ensemble so far:'''<br />
<br />
Chris Warren: 8-string bass, mixing<br><br />
Adnan Marquez: saxophone, sampler<br><br />
Gina (Gu Yiqing): laptop, flute<br><br />
(you) <br><br />
<br />
<br />
<br />
Ok, now that that's out of the way, lets get down to business...<br />
<br />
Here's where we put the ideas. PLEASE add/edit/elaborate, but let's not erase anything just yet. <br />
<br />
<br />
*****Idea #1: Series<br />
<br />
All of the people who are performing on laptops wire themselves as a chain, the output of each going into the input of the next. So each person takes the sound of the person before them and modifies it before passing it on. Kinda like a big game of telephone. The last person in the chain sends their sound to the audience, but also back to the first person in the chain. <br><br />
(1 vote from Gina!)<br />
<br />
<br />
<br />
*****Idea#2: Chuck Choir<br />
<br />
Each laptop player is given a sample and a simple Chuck script. The script is a basic Karplus-Strong-style recursive lowpass filter, so when you change the delay time, you change the resonant pitch of the sample. By modifying this time, and adding and replacing shreds, each player can create a chorus of their own sample and the group as a whole becomes a wall of sound. A lead player structures the piece by indicating density (any volunteers?) <br><br />
(1 vote from Gina!!)<br />
<br />
<br />
<br />
*****Idea #3: Drum Machine Circle<br />
<br />
At a specific time, we all start short percussive loops at the same tempo. Each person then unplugs from the main PA and we disperse through the audience, playing through our laptop speakers. Then we let the phasing work its magic. This would probably be cool as a set closer. Ladies and gentlemen, the MSTs have left the building. <br><br />
(1 vote from Gina!!!)<br />
<br />
<br />
<br />
*****Idea #4: Slowly, Loudly<br />
<br />
Sort of a drone piece. Each player makes a continuous sound and tries to change it AS SLOWLY AS POSSIBLE. The desired effect would be a cumulative block of sound that, while it clearly has a certain shimmer to it, displays no obvious movement that the listener can discern. <br><br />
(1 vote from Gina!!!!)<br />
<br />
<br />
<br />
*****Idea #5: Your Idea<br />
<br />
Gina: see...I have voted for everything:P even blow different size of bottles~<br />
<br />
*****General remark: I think everyone that is performing should have a very simple/streamlined setup in order to 1) simplify setup/breakdown, and 2) make the performance more dynamic. How? well, the main problem with computer/electronic music is that the reaction time from a performer is greatly reduced because he/she is concerned mostly with what is being displayed on the screen. So, not much attention is being put on the overall sound and the actual musical event. By reducing distractions it is possible to create a situation in which people actually listen to others and can make some good music...what a concept!<br />
A thorough working knowledge of your gear/instrument and some sort of "virtuosity" is also needed to facilitate things even further and make them more interesting. This key when doing improv otherwise your just fooling around.<br />
My next point is related to the "pieces". In reality we will play 3 or at most 4 tunes due to the 30min set. So we should definitely have a planned set list. So if we are indeed jamming for one piece we should try to time it and have some strong improvisers leading the pack. All of the above mentioned piece ideas are good, but I suggest trying to break the conventional electronic music performance model. How? don't know, let's get together and think! Otherwise, it will be a "it was cool for...hmm...like 5 minutes" performance and that sucks. <br />
<br />
<br />
<br />
As far as rehearsals go, I doubt we have the time for much as the end of the quarter looms near. So instead, I propose we develop our ideas on this forum to the extent we can and then once they've taken shape, we have a single rehearsal a few days before the show.<br />
<br />
<br />
<br />
<br />
“In composing, as a general rule, run your pen through every other note you have written; you have no idea what vigor it will give your style.”</div>Adnanmhttps://ccrma.stanford.edu/mediawiki/index.php?title=Soundwire-fall2007/People&diff=2820Soundwire-fall2007/People2007-10-15T04:40:03Z<p>Adnanm: </p>
<hr />
<div>=== CCRMA folks (and soundwire instruments) ===<br />
* [http://ccrma.stanford.edu/~cc/ Chris Chafe] (electric cello)<br />
* [http://ccrma.stanford.edu/~ge/ Ge Wang] (laptop, code)<br />
* [http://ccrma.stanford.edu/~nando/ Fernando Lopez-Lezcano] ()<br />
* Nick Bryan (laptop, clarinet)<br />
* Turner Kirk (laptop, bagpipe, good times)<br />
* Hayden Bursk (laptop, guitar, drums)<br />
* Cobi van Tonder (laptop, voice, mic/objects)<br />
* Gina (Yiqing Gu) (laptop, flute, piano)<br />
* Elise MacMillan (violin and voice, kazoo)<br />
* [http://ccrma.stanford.edu/~dsiwiak Diana Siwiak] (flute, piano, voice)<br />
* Baek Chang (laptop, guitar, piano)<br />
* Dennis (laptop, guitar, piano)<br />
* Max Citron (laptop, guitar, drums, synth)<br />
* Luke Dahl (melodica + synth)<br />
* [http://ccrma.stanford.edu/~rob Rob Hamilton] (guitar)<br />
* Juan-Pablo Caceres (synth:NL3)<br />
* [http://ccrma.stanford.edu/~lanfer/ Tania Marquez] (piano, max/msp?)<br />
* Hiroko Terasawa (voice, video, photo)<br />
* [http://www.myspace.com/adnanmarquez Adnan Marquez-B] (saxomophone)<br />
* Joel Darnaver (bass, guitar, rocks bang together)<br />
* [http://www.alloyelectric.com Chris Warren] (8-string bass/guitar, feedback piano)<br />
* [http://ccrma.stanford.edu/~jeffcoop Jeff Cooper] (nylon guitar, harmonica, mixer?)</div>Adnanmhttps://ccrma.stanford.edu/mediawiki/index.php?title=Soundwire-fall2007/People&diff=2819Soundwire-fall2007/People2007-10-15T04:39:28Z<p>Adnanm: </p>
<hr />
<div>=== CCRMA folks (and soundwire instruments) ===<br />
* [http://ccrma.stanford.edu/~cc/ Chris Chafe] (electric cello)<br />
* [http://ccrma.stanford.edu/~ge/ Ge Wang] (laptop, code)<br />
* [http://ccrma.stanford.edu/~nando/ Fernando Lopez-Lezcano] ()<br />
* Nick Bryan (laptop, clarinet)<br />
* Turner Kirk (laptop, bagpipe, good times)<br />
* Hayden Bursk (laptop, guitar, drums)<br />
* Cobi van Tonder (laptop, voice, mic/objects)<br />
* Gina (Yiqing Gu) (laptop, flute, piano)<br />
* Elise MacMillan (violin and voice, kazoo)<br />
* [http://ccrma.stanford.edu/~dsiwiak Diana Siwiak] (flute, piano, voice)<br />
* Baek Chang (laptop, guitar, piano)<br />
* Dennis (laptop, guitar, piano)<br />
* Max Citron (laptop, guitar, drums, synth)<br />
* Luke Dahl (melodica + synth)<br />
* [http://ccrma.stanford.edu/~rob Rob Hamilton] (guitar)<br />
* Juan-Pablo Caceres (synth:NL3)<br />
* [http://ccrma.stanford.edu/~lanfer/ Tania Marquez] (piano, max/msp?)<br />
* Hiroko Terasawa (voice, video, photo)<br />
* [http://www.myspace.com/adnanmarquez] (saxomophone)<br />
* Joel Darnaver (bass, guitar, rocks bang together)<br />
* [http://www.alloyelectric.com Chris Warren] (8-string bass/guitar, feedback piano)<br />
* [http://ccrma.stanford.edu/~jeffcoop Jeff Cooper] (nylon guitar, harmonica, mixer?)</div>Adnanmhttps://ccrma.stanford.edu/mediawiki/index.php?title=Soundwire-fall2007/Equipment&diff=2640Soundwire-fall2007/Equipment2007-10-03T20:12:01Z<p>Adnanm: </p>
<hr />
<div>=== What each person is bringing, exactly ===<br />
<br />
please indicate (as '''precisely''' as possible) what gear you'll be bring to class. Thanks!<br />
<br />
* Chris C:<br />
* Ge: laptop (need AC) -> 1/4"<br />
* Kyle:<br />
* Nick:<br />
* Turner:<br />
* Hayden:<br />
* Cobi:<br />
* Gina: laptop, MOTU 828mkII,flute/alto flute(if wanted), Novation ReMOTE 25 SL MIDI Controller ( ordering...not available this week...)<br />
* Elise:<br />
* Diana: flute/piccolo, laptop (as needed), my voice<br />
* Baek:<br />
* Dennis:laptop,M-Audio Oxygen8 v2 25-Key Mobile USB Controller (I brought online.....not coming yet)<br />
* Max:<br />
* Luke: melodica w/ contact mic pickup thru motu ultralite into max/msp, w/ trigger finger as midi controller.<br />
* Rob: electric guitar -> 1/4 -> direct-box-eq -> 1/4<br />
* Juan-Pablo: Synth (NL3) 2-channels<br />
* Tania:<br />
* Hiroko:<br />
* Adnan: saxophone, various wind instruments<br />
* Joel:<br />
* Chris W:<br />
* Jeff:<br />
<br />
<br />
[[Category:Courses]]</div>Adnanmhttps://ccrma.stanford.edu/mediawiki/index.php?title=Soundwire-fall2007/Bios&diff=2639Soundwire-fall2007/Bios2007-10-03T20:10:17Z<p>Adnanm: </p>
<hr />
<div>[http://ccrma.stanford.edu/~cc/ Chris Chafe] is a composer/ cellist / music researcher with an interest in computer music composition and interactive performance. He has been a long-term denizen of the Center for Computer Research in Music and Acoustics, Stanford University where he directs the center and teaches computer music courses. His doctorate in music composition was completed at Stanford in 1983 with prior degrees in music from the University of California at San Diego and Antioch College. Two yearlong research periods were spent at IRCAM, and the Banff Center for the Arts developing methods for computer sound synthesis based on physical models of musical instrument mechanics. A current project, "SoundWIRE", explores musical collaboration and network evaluation using high-speed internets for high-quality sound.<br />
<br />
<br />
[http://ccrma.stanford.edu/~ge/ Ge Wang] received his B.S. in 2000 in Computer Science from Duke University, PhD in 2007 (hopefully!) in Computer Science (adviser Perry Cook) from Princeton University, and is currently an assistant professor in the Center for Computer Research in Music and Acoustics (CCRMA) at Stanford University. His research interests include real-time software systems for computer music, programming languages, visualization, new performance ensembles (e.g., laptop orchestras) and paradigms (e.g., live coding), interfaces for human-computer interaction, pedagogical methodologies at the intersection of computer science and computer music. Ge is the chief architect of the ChucK audio programming language and the Audicle environment. He is a founding developer and co-director of the Princeton Laptop Orchestra (PLOrk), and a co-creator of the TAPESTREA sound design environment. Ge composes and performs via various electro-acoustic and computer-mediated means.<br />
<br />
<br />
Composer and guitarist [http://ccrma.stanford.edu/~rob/ Robert Hamilton] (b.1973) is actively engaged in the composition of contemporary electroacoustic musics as well as the development of interactive musical systems for performance and composition. Mr. Hamilton holds degrees from Stanford University, Dartmouth College, and the Peabody Institute of The Johns Hopkins University with additional studies at Le Centre de Création Musicale de Iannis Xenakis (CCMIX) and L'Ecole Normale de Musique de Paris with the EAMA. His compositions and published writings have been presented at the International Computer Music Conference (ICMC 2007, 2006, 2005), newStage:CCRMA Festival, SEAMUS 2007 (Ames), NIME 2006 (Paris), the CCRMA Concert Series, Sound in Media Workshop (Copenhagen), the SPARK Festival, 3rd Practice Festival, ISMIR 2003, the Dartmouth Electric Rainbow Coalition Festival and the Smithsonian Institute. Mr. Hamilton is currently pursuing his Ph.D. in Computer-based Music Theory and Acoustics at Stanford University's CCRMA working with Chris Chafe. His research interests include novel platforms for electroacoustic composition and performance, the definition and implementation of flexible parameter-spaces for interactive musical systems, and systems for real-time musical data-exchange, translation and notation display.<br />
<br />
<br />
'''Juan-Pablo Caceres''' is a composer, performer and engineer born in Santiago, <br />
Chile. He is currently a PhD student in computer music at CCRMA in Stanford <br />
University (USA). His work includes instrumental and electronic pieces, as <br />
well as performance of avantgarde rock music, with a albums edited in [http://www.lizardrecords.it/yonhosago.html Europe] <br />
and [http://www.innova.mu/artist1.asp?skuID=256 America]. Juan-Pablo's interests include Internet music and performance (he is an active member of the <br />
[http://ccrma.stanford.edu/groups/soundwire/ SOUNDWire project]), <br />
virtual acoustic spaces, popular experimental music, boundary pushing <br />
computer music (in both directions).<br />
<br />
'''Adnan Marquez-Borbon''' is a Mexican saxophonist and composer active in Southern California and Baja California with numerous groups. His music focuses on improvisation and electro-acoustic sound manipulation. Influenced by jazz, classical music, free improvisation, electronica, and traditional musics, his improvisations and compositions synthesize these elements into a unique personal style. He has participated in numerous projects with members of the Trummerflora Collective, the Spectrum Saxophone Quartet, and is a founding member of the Mexican Improvisation Collective, Generación Espontánea.</div>Adnanmhttps://ccrma.stanford.edu/mediawiki/index.php?title=Soundwire-fall2007/Bios&diff=2638Soundwire-fall2007/Bios2007-10-03T20:10:03Z<p>Adnanm: </p>
<hr />
<div>[http://ccrma.stanford.edu/~cc/ Chris Chafe] is a composer/ cellist / music researcher with an interest in computer music composition and interactive performance. He has been a long-term denizen of the Center for Computer Research in Music and Acoustics, Stanford University where he directs the center and teaches computer music courses. His doctorate in music composition was completed at Stanford in 1983 with prior degrees in music from the University of California at San Diego and Antioch College. Two yearlong research periods were spent at IRCAM, and the Banff Center for the Arts developing methods for computer sound synthesis based on physical models of musical instrument mechanics. A current project, "SoundWIRE", explores musical collaboration and network evaluation using high-speed internets for high-quality sound.<br />
<br />
<br />
[http://ccrma.stanford.edu/~ge/ Ge Wang] received his B.S. in 2000 in Computer Science from Duke University, PhD in 2007 (hopefully!) in Computer Science (adviser Perry Cook) from Princeton University, and is currently an assistant professor in the Center for Computer Research in Music and Acoustics (CCRMA) at Stanford University. His research interests include real-time software systems for computer music, programming languages, visualization, new performance ensembles (e.g., laptop orchestras) and paradigms (e.g., live coding), interfaces for human-computer interaction, pedagogical methodologies at the intersection of computer science and computer music. Ge is the chief architect of the ChucK audio programming language and the Audicle environment. He is a founding developer and co-director of the Princeton Laptop Orchestra (PLOrk), and a co-creator of the TAPESTREA sound design environment. Ge composes and performs via various electro-acoustic and computer-mediated means.<br />
<br />
<br />
Composer and guitarist [http://ccrma.stanford.edu/~rob/ Robert Hamilton] (b.1973) is actively engaged in the composition of contemporary electroacoustic musics as well as the development of interactive musical systems for performance and composition. Mr. Hamilton holds degrees from Stanford University, Dartmouth College, and the Peabody Institute of The Johns Hopkins University with additional studies at Le Centre de Création Musicale de Iannis Xenakis (CCMIX) and L'Ecole Normale de Musique de Paris with the EAMA. His compositions and published writings have been presented at the International Computer Music Conference (ICMC 2007, 2006, 2005), newStage:CCRMA Festival, SEAMUS 2007 (Ames), NIME 2006 (Paris), the CCRMA Concert Series, Sound in Media Workshop (Copenhagen), the SPARK Festival, 3rd Practice Festival, ISMIR 2003, the Dartmouth Electric Rainbow Coalition Festival and the Smithsonian Institute. Mr. Hamilton is currently pursuing his Ph.D. in Computer-based Music Theory and Acoustics at Stanford University's CCRMA working with Chris Chafe. His research interests include novel platforms for electroacoustic composition and performance, the definition and implementation of flexible parameter-spaces for interactive musical systems, and systems for real-time musical data-exchange, translation and notation display.<br />
<br />
<br />
'''Juan-Pablo Caceres''' is a composer, performer and engineer born in Santiago, <br />
Chile. He is currently a PhD student in computer music at CCRMA in Stanford <br />
University (USA). His work includes instrumental and electronic pieces, as <br />
well as performance of avantgarde rock music, with a albums edited in [http://www.lizardrecords.it/yonhosago.html Europe] <br />
and [http://www.innova.mu/artist1.asp?skuID=256 America]. Juan-Pablo's interests include Internet music and performance (he is an active member of the <br />
[http://ccrma.stanford.edu/groups/soundwire/ SOUNDWire project]), <br />
virtual acoustic spaces, popular experimental music, boundary pushing <br />
computer music (in both directions).<br />
<br />
Adnan Marquez-Borbon is a Mexican saxophonist and composer active in Southern California and Baja California with numerous groups. His music focuses on improvisation and electro-acoustic sound manipulation. Influenced by jazz, classical music, free improvisation, electronica, and traditional musics, his improvisations and compositions synthesize these elements into a unique personal style. He has participated in numerous projects with members of the Trummerflora Collective, the Spectrum Saxophone Quartet, and is a founding member of the Mexican Improvisation Collective, Generación Espontánea.</div>Adnanmhttps://ccrma.stanford.edu/mediawiki/index.php?title=Soundwire-fall2007/People&diff=2635Soundwire-fall2007/People2007-10-03T20:06:25Z<p>Adnanm: </p>
<hr />
<div>=== CCRMA folks (and soundwire instruments) ===<br />
* [http://ccrma.stanford.edu/~cc/ Chris Chafe] (electric cello)<br />
* [http://ccrma.stanford.edu/~ge/ Ge Wang] (laptop, code)<br />
* Kyle Spratt (laptop)<br />
* Nick Bryan (laptop, clarinet)<br />
* Turner Kirk (laptop, bagpipe, good times)<br />
* Hayden Bursk (laptop, guitar, drums)<br />
* Cobi van Tonder (laptop, voice, mic/objects)<br />
* Gina (Yiqing Gu) (laptop, flute, piano)<br />
* Elise MacMillan (violin, electric/acoustic)<br />
* Diana Siwiak (flute, piano, voice)<br />
* Baek Chang (laptop, guitar, piano)<br />
* Dennis (laptop, guitar, piano)<br />
* Max Citron (laptop, guitar, drums, synth)<br />
* Luke Dahl (melodica + synth)<br />
* [http://ccrma.stanford.edu/~rob Rob Hamilton] (guitar)<br />
* Juan-Pablo Caceres (synth:NL3)<br />
* Tania Marques (piano, max/msp?)<br />
* Hiroko Terasawa (voice, video, photo)<br />
* Adnan Marquez-B (saxomophone)<br />
* Joel Darnaver (bass, guitar, rocks bang together)<br />
* Chris Warren (8-string bass, guigar, feedback)<br />
* Jeff Cooper (?)</div>Adnanmhttps://ccrma.stanford.edu/mediawiki/index.php?title=Soundwire-fall2007/People&diff=2634Soundwire-fall2007/People2007-10-03T20:06:09Z<p>Adnanm: </p>
<hr />
<div>=== CCRMA folks (and soundwire instruments) ===<br />
* [http://ccrma.stanford.edu/~cc/ Chris Chafe] (electric cello)<br />
* [http://ccrma.stanford.edu/~ge/ Ge Wang] (laptop, code)<br />
* Kyle Spratt (laptop)<br />
* Nick Bryan (laptop, clarinet)<br />
* Turner Kirk (laptop, bagpipe, good times)<br />
* Hayden Bursk (laptop, guitar, drums)<br />
* Cobi van Tonder (laptop, voice, mic/objects)<br />
* Gina (Yiqing Gu) (laptop, flute, piano)<br />
* Elise MacMillan (violin, electric/acoustic)<br />
* Diana Siwiak (flute, piano, voice)<br />
* Baek Chang (laptop, guitar, piano)<br />
* Dennis (laptop, guitar, piano)<br />
* Max Citron (laptop, guitar, drums, synth)<br />
* Luke Dahl (melodica + synth)<br />
* [http://ccrma.stanford.edu/~rob Rob Hamilton] (guitar)<br />
* Juan-Pablo Caceres (synth:NL3)<br />
* Tania Marques (piano, max/msp?)<br />
* Hiroko Terasawa (voice, video, photo)<br />
* Adnan Marques-B (saxomophone)<br />
* Joel Darnaver (bass, guitar, rocks bang together)<br />
* Chris Warren (8-string bass, guigar, feedback)<br />
* Jeff Cooper (?)</div>Adnanm