A one hour long solo concert with modular synthesizers, the Weathered Piano and a Disklavier. Featuring the new Ping Noise Modular, the Applesauce Modular Mark V and the tiny Kastle.
A 15 minute performance of the Applesauce Modular Mark V Eurorack modular synthesizer at ICMC 2020 in Chile
A short performance with the Applesauce Modular Mark V Eurorack modular synthesizer in TWELVE, a 12 hour concert in SEAMUS 2021 organized by Constantin Basica
A short performance with the Applesauce Modular Mark V Eurorack modular synthesizer in the context of the CCRMA World Update (what used to be our Open House, Pandemic edition)
A paper on a novel optimizer for mixed-order Ambisonics decoders written by Aaron Heller.
A network performance of another artistic collaboration with Michiko Theurer (violin). The pandemic has separated us geographically, but the network allows us to be close enough to play together in a virtual space. Wings is a duo, Michiko plays violin and I play a new Eurorack modular synthesizer (which I am still domesticating), together with some on-the-fly recordings captured and played back through SooperLoopy, a 16 track asynchronous looper.
I have been participating in an ongoing series of online concerts (21 of them so far) hosted at CCRMA, Stanford, and organized by Constantin Basica (our concert coordinator). The "shelter in place" order has moved us to the network and we are still making music. See links to some of the performances (with video and audio) here
The first two performances of Resurrections, a new piece that uses a new improvisation environment (SooperLoopy, a multi-looper written in SuperCollider). The first performance on Friday's concert was a creative collaboration with Michiko Theurer (violin), the second, on Saturday, was a piaNOT solo performance.
Another paper detailing the progress of the eight capsule 2nd order microphone, specially withe regards to its calibration.
A 30 minute set featuring another appearance of El Dinosaurio, this time with a short fun introduction performed with my Noise Toaster and an inspiring background of amazing works of art at the Anderson Collection. This was another re-interpretation of Dinosaur Skin, my piece for analog synthesizer, computer processing (16 loops and other stuff) and full 3D spatialization.
Another piece composed in the "Weathered Pianos" universe, sharing sonic materials with Y Sonó Como Arpa Vieja. Like the previous piece, it is rendered on two layers of Ambisonics full 3D spatialization, and all the sound materials were recorded using 1st and 2nd order Ambisonics microphones I built (see my SpHEAR project). Premiered in the second night of The Lord of the Bings: The Fellowship of the Bing concerts, Bing Concert Hall, Stanford.
A performance of Y Sonó Como Arpa Vieja, concert organized and curated by Natasha Barrett.
New music for cello and electronics, thanks to a collaboration with Séverine Ballon.
Cello sounds with extended techniques were recorded using my DIY Ambisonics microphones and were piped through the skeleton, soundboard and open strings of an old piano. An electronic score written in SuperCollider is merged with live cello playback from Séverine, which is also processed in real-time using a convolution reverb derived from the soundboard and open string response of the piano.
A new piece premiered in the newly renovated diffusion system in our Stage in The Knoll at Stanford (Transitions concert, Oct 4 2017). Composed using sound recorded from the skeletons of two pianos, it is spatialized in 5th and 2nd order Ambisonics layers. All sounds were recorded using 1st and 2nd order Ambisonics microphones I built (see my SpHEAR project and the final result was rendered in our new 3D 56.8 system.
A virtual journey to Hagia Sophia, Constantinople's Great Church, when the renowned choir Cappella Romana returns to the Bing to continue its collaboration with Stanford's Center for Computer Research in Music and Acoustics (CCRMA) and its Art and Art History department.
The GRAIL renders again the acoustics of Hagia Sophia in real-time, with 15 singers of the Cappella Romana group on stage. A redesigned reverberation architecture with new impulse responses created and tuned by Jonathan Abel, Francois Germain and Elliot Kermit-Canfield (based on new measurements of the space), worked together to render a breathtaking virtual space filled with the echoes of Bizantine chanting.
Two evenings of new and not so new computer music works diffused through the GRAIL in our Stage, this time with a 18 + 8 + 8 array of speakers. I performed a newly rendered version of iICEsCcRrEeAaMm, with new CLM code creating a freshly minted 4th order Ambisonics version.
A performance of Space, S[acred|ecular] on the "Sounds in Space I: First Wave" concert on August 6th in the Cube and Perform Studio.
A new paper, The *SpHEAR project, a family of parametric 3D printed soundfield microphone arrays (regretfully I was unable to attend the conference).
First GRAIL deployment outside Stanford with a full concert on Tuesday July 12th ("An Evening with the (CCRMA) GRAIL: 3D Surround Sound"), 14.1 system in full 3D. Read this flattering review of the concert by Sara Pun.
Another great (possibly the best so far) performance of Vox Voxel, together with John Granzow, rendered through two 3D printers with a new 3D "score".
I also performed together with Chris Chafe and John Granzow as part of the Trio Esqueleto ensemble.
A new "piece", "Machimato", was also performed by Chris Chafe and yours truly. Machimato is a "collision piece" created by simultaneous playback and crossfade of two completely separate pieces, Tomato Music by Chris Chafe and The Mysterious and Hidden Machinery of Sound by Fernando Lopez-Lezcano (hence the name of the piece). With a live performance of Chris Chafe on celletto and live mixdown (dj'ing?) by Fernando Lopez-Lezcano. Last but not least another "piece", this one part of the Harbour Symphony series, Harbor Mayhem for Seven Horns and a Backhoe - a score for seven ship horns at the St. John's harbor (there was a different piece being played at noon every day).
I had the opportunity to participate in "Speculations in Sound", meeting and talking to many gurus of spatial sound - a lot of people using way too many speakers to diffuse sound and music. Kitchen Miniatures was diffused in the May 6th concert at SARC's Sonic Laboratory.
From left to right: Alex Harker, Jøran Rudi (back), Eric Lyon, Notto Thelle, David Pirrò, Michael Alcorn, Ludger Brummer, Robert Normandeau, Gary Kendall, Natasha Barrett, Frédéric Dufeu, Trevor Agus, Michael Clark, Hans Tutshku, Markus Noisternig, Hyunkook Lee, William Brunson, yours truly, Barry Truax (details about everyone can be found here)
A performance of Space, S[acred|ecular] on Thursday April 28 in the Dome Room, new re-rendered version in 5th order Ambisonics.
In the Cage of the Beast:
Scott Wilson took this picture and wrote: "Fernando Lopez-Lezcano is declared an honorary BEASTie after helping with the derig", it was an honor to help...
Premiere of a new version of Space, S[acred|ecular], this time rendered in 5th order Ambisonics (as opposed to the original 3rd order rendering). Concert organized and curated by Natasha Barrett.
A lecture about "High Order Ambisonics, generating and diffusing full surround 3D soundfields". New versions of Vox Voxel (together with John Granzow) and Divertimento de Cocina in Friday's concert.
Another performance of Un Esqueleto en la Cocina (A Skeleton in the Kitchen). This time in the aptly renamed "Precipitations" concerts (our outdoor concerts that had to be held indoors this time because of unexpected but welcome rain)
First performance of Un Esqueleto en la Cocina, a piece for improvised celleto (played by Chris Chafe) and electronics, played by yours truly. The electronic part is the universe of sounds of Divertimento de Cocina, thus the title.
Another performance of Vox Voxel together with John Granzow, this time at Noisebridge in San Francisco.
Space, S[acred|ecular], world premiere of a piece composed at ZKM in 2014 and finished at CCRMA and in my home studio. Staged in Hagia Sophia.
This year I had to miss LAC 2015, I was teaching and had a special guest lecturer (Hans Tutschku) on that very same week. But Ping did not miss it and he was even part of the keynote address!
A performance of a new version of The Hidden and Mysterious Machinery of Sound, this time rendered if full 3D 3rd order Ambisonics using the Stanford GRAIL.
World premiere of The Hidden and Mysterious Machinery of Sound, an 11 minute piece composed for the San Francisco Tape Music Festival 2015.
Read this very nice article in the Stanford News about my award...
The picture on the left was taken at the award ceremony and reception on December 3rd 2014 (with Dr. Ann Arvin, Vice Provost and Dean of Research at Stanford)
Spatialization and Diffusion Techniques in Electroacoustic Music Composition, a three day workshop on techniques for diffusion and spatializacion in electrouacoustic music.
A multichannel concert I curated (8 channel full surround) in the "Sala de Conferencias" of the Solís Theater in Montevideo, Uruguay. The concert setup and calibration session was also part of the Herramientas de Software Libre para la Espacializacón de Sonido (Free Software Tools for Sound Spatialization) workshop.
The Marsh O'Neill Award presents one of the few opportunities for faculty to acknowledge publicly the support of outstanding staff members who support their research activity. In recognition of faculty appreciation for outstanding contributions to Stanford's research mission, this award is made annually to a member of the University's Staff or Academic Staff. This prestigious award was inspired by the extraordinary career of Marsh O'Neill, Associate Director of the W.W. Hansen Laboratories, 1952 - 1990. Marsh was the first recipient of this award.
A new piece dedicated to John Chowning (Modulate me, please?) in two flavours, a 30 second Miniature (part of the Miniature Mix played in the Bing Concert Hall on Sunday October 26th), and then a full length 3 minute version played in realtime in the Stage Concert the following Monday. Two TX816's working in tandem with stock patches and feeding 16 speakers independently in both cases.
I also participated in the Symposium with a talk titled "" (yes, that is an empty title). I talked about talks I could have talked about if I had had time to prepare the talk, ha ha. The titles could have been "Skeletons in the Closet" or "Servers I Have Served, A Biblical Story" or "The Rise and Fall of the Server Empire", if I had talked about servers, or "The Keepers of the Sacred Flame" if I had talked about SysAdmins, or "The NeXT BIG thing" if I had talked about the NeXTs, or "SGI Workstations" if I had talked about those, or "The Rise and Fall of the Penguin Empire" if I had talked about Linux, or even "Small Things are Beautiful" if I had talked about iThings and Androids. I could have also talked about "Now and Then", comparing similar pieces of equipment from 1993 and 2014 (which I did for a bit). But I just played a very old video I took of a CCRMA Tour in 1991, led by Chris Chafe... it was a lot of fun.
A new paper ("An Architecture for Reverberation in High Order Ambisonics") presenting the reverberation architecture implemented in HOA (High Order Ambisonics) for my "Space:S[ecular|acred]" piece
I had two performances and one paper in one of the poster sessions:
Together with John Granzow we played another rendition of "Vox Voxel" in the Tuesday September 16 2014 concert at the Onassis Cultural Center Upper hall. This piece was the first piece in a concert otherwise dedicated to "flute and electronics" pieces. I guess it was hard to classify. The 3D printer made it all the way there thanks to John, and back to California!
Velvet Skin, Heart of Steel was featured in the June 26th concert curated by Natasha Barret.
John Chowning, Chris Chafe and myself spent a week in Shanghai as guests of the Shanghai Conservatory of Music. Chris and John gave lectures on May 19th and 20th and we played several pieces in a concert on May 21st (including Divertimento de Cocina and A Very Fractal Cat). We also visited the School of Electronics of the Information and Electrical Engineering of Shanghai Jiatong University
As usual intense days of paper sessions, workshops, concerts, installations, wine, food and friends. Go to its web site and check out the pdf papers and archived videos of all presentations (Yet again Ping was there and made new friends).
My piece "Divertimento de Cocina" was played in the Saturday concert in the ZKM Kubus Concert Hall
Here's a link to an interview published at Zthmusic...
Participated in the 22 hour marathon with two 1/2 hour sets (at 6:30pm and 9:30pm) using "El Dinosaurio" augmented by computer.
(picture thanks to Ge Wang)
I participated with a talk and 3D sound demonstration in the International Forum "Soundscapes - 3D Sound": Towards open 3D multichannel sound diffusion systems (pdf slides). This also involved a demo of some 3D pieces in the afternoon exhibition session
Friday Sep 27th @ 6pm: Un Gato Muy Fractal y PadMaster, una Pieza y su Programa de Control, a talk about A Very Fractal Cat and its control program, PadMaster.
Saturday Sep 28th @ 12pm: Hacia Sistemas de Difusión Multicanal Abiertos.
Saturday Sep 28th @ 6pm - concert (CANCELLED): Un Gato Muy Fractal (regretfully my father got ill and I could not participate in the concert).
Kitchen Miniatures was featured in the "Sintesis Espacial de Sonido" (Spatial Synthesis of Sound) permanent exhibition in the University of Quilmes, as part of the "Semana del Sonido". The diffusion used an 8 speaker ring plus subwoofers. You can see pictures here
Monday 21st @ 7pm: Touch the Gear Exposition, El Dinosaurio was visiting and making noises, lots of amazing stuff to see, hear and touch.
Tuesday 22nd @ 7pm: I'll be participating in the Composers Symposium
Thursday 25nd @ 8:15pm: Vibration Hackers Concert, featuring the latest rendering of "Knock knock... anybody there?" (take a look at my "In the field with Fernando Lopez-Lezcano" interview - the intro music is a fragment of Dinosaur at War for three geographically disperse synthesizers). More juicy details in Joe Lasquo's Blog, (review)
Another year, another LAC. Intense days of paper sessions, workshops, concerts, installations, wine, food and friends. If you missed it go to its web site and check out the pdf papers and archived videos of all presentations (Ping was there and made new friends, as usual). Here's the LAC crowd just after the closing ceremony:
Check out my new paper, Byzantium in Bing: Live Virtual Acoustics Employing Free Software for how we transformed the newly inaugurated Bing Concert Hall into Hagia Sophia
My piece "Velvet Skin, Heart of Steel" was played in the Friday concert in the Mumuth Concert Hall
This new piece uses SuperCollider to orchestrate a wild band of kitchen utensils. A Novation LaunchPad controller and a custom class written in SuperCollider enabled me to start, pause and stop multiple rhythmic "performers" during a 10 minute set on both nights of the Modulations concerts. Sounds were diffused using Ambisonics over an 8.4 surround speaker system.
Participated in the 22 hour marathon with two 1/2 hour sets (at 6pm and 10pm) using "El Dinosaurio" augmented by computer.
A new 3D rendered computer music piece, premiered in the Sonic Boom! Bing concert using our 24.6 3D diffusion system.
I provided the 3D 24.6 surround diffusion system installed at Bing for this event and also the computer system infrastructure for a live simulation of the Hagia Sophia dome at Istambul. The system provided a real-time auralization of Hagia Sophia for the second part of the concert.
In the context of CCRMA at Bing's Festival, Saturday night's concert was a curated program will feature multichannel pieces using the full potential of our 24.6 channel immersive surround sound system. Music and performances by Jonathan Berger, Michael Berger, Chris Chafe, Jonathan Harvey, Fernando Lopez-Lezcano, Hans Tutshku and more... The concert included the diffusion of the complete 8 channel version of Jonathan Harvey's electronic masterpiece "Mortuos Plango Vivos Voco". Jonathan Harvey passed away recently and he is missed and remembered fondly by everyone who met him (he taught composition at the Music Department and CCRMA between 1995 and 2000). The concert started with a solo boombox on stage playing Max Matthew's 1961 computer rendition of "A bicycle built for two" (complete program [pdf]).
Co-composed with Chris Chafe (CCRMA's Director), this three minute piece opened the first official concert at the brand new Bing Concert Hall Opening Weekend (see concert program notes here. We used a scaled down speaker array to diffuse this 12 channel piece.
Chris Chafe wrote: Our opening music heralds the variety of music to come in this concert hall: a mix of fresh music from freshmen to PhD's composed during Fall term and representing Mexico, France, China, and the USA which are melded with acoustic and computer-based compositions by faculty and visiting artists. Also in the mix are live sounds of White Plaza at Big Game time, "vibration tests" from banging on Bing Hall itself before and after completion, and Morse Code renditions of Peter Bing's Family name played by Canada's largest ice breaker, St. Johns Harbour, Newfoundland.
Article in the San Francisco Chronicle: Diverse show opens Stanford's Bing Hall
A night of spatial sound with our upgraded 24.4 sound system. The program featured multichannel pieces unlocking the full potential of our 24 channel immersive outdoors surround sound system. Music and performances by Jonathan Abel / Bissera Pentcheva, Chris Chafe, Jonathan Berger, Fernando Lopez-Lezcano, Ake Parmerud, Bill Schottstaedt and John Kocolas / Konstantine Salmas. See the full program
The concert featured a newly re-rendered version of my Knock knock, anybody there? piece.
I had the pleasure of organizing this year's Linux Audio Conference together with Bruno Ruviaro (and the help of many others!). Four very intense days of paper sessions, workshops, concerts and installations. If you missed it go to its web site and check out the pdf papers and archived videos of all presentations. Here's the LAC crowd just after Dave Phillip's keynote address:
Live improvisation performed together with Kurt Werner, full 16 channels 3D sound in the CCRMA Stage.
New version of Earth Songs rendered to our new 16.4 3D outdoor sound system.
A night of spatial sound with our new 16.4 3D outdoors sound system, featuring pieces by Jonty Harrison, John Chowning, Giles Gobeil, Fernando Lopez-Lezcano, Hans Tutschku, Jonathan Abel / Bissera Pentcheva and Åke Parmerud. From 4 channel classics to brand new pieces using up to 48 channel spatialized 3D sound. The sound was diffused with a custom system based on SuperCollider, Ardour and Ambdec running on a remoted Linux workstation and using a Network Sound ethernet driven 32 channel D/A converter box. See the full program
5 speakers of the upper ring were installed in The Knoll balconies, the other 3 in very tall stands in the back of the backyard
Attended a workshop taught by Hans Tutschku at EMPAC and worked on a new expanded version of Earth Songs, which was presented in concert at the end of the workshop (Studio One was fitted with a 24 channel sound system for the workshop).
Two old pieces written for PadMaster and using the Radio Drum as a 3D controller, played in memory of Max Mathews (after a lot of digging around for old hardware, custom software, synthesizer presets, old NeXT computers, etc). "Espresso Machine II" was played in the Spring Concert of the Stanford Symphonic Orchestra, May 28th 2011 (Chris Chafe on Celleto), House of Mirrors was played in the Max Mathew's Celebration at CCRMA, May 29th, 2011.
A description of what makes the Cat pieces tick (or is it miaou?)... Focused in the motivations for creating them and a description of their evolution.
"Earth Songs" first performance at the 2011 Linux Audio Conference in NUI Maynooth, Ireland, May 7th 2011.
A shorter (approximately 20 minutes long) version of Dinosaur Skin performed at the CCRMA Modulations 2001 concert, April 2nd 2011
A new version of Quest, a piece I composed in 1986 with a CZ101, a Commodore 64 and two tape decks. The version played in concert on February 17th, 2011, is based on the original first generation dBxI tapes recorded in my home studio (the piece was later re-recorded at LIPM). The original tapes were digitalized and spatialized using Ardour and Ambisonics. "Quest", the "Composer's Mix".
"Dinosaur Skin" is a new piece for "El Dinosaurio" and live electronics, it was performed as a special two hour live performance in CCRMA's Music Circus 2010, November 18th 2010
Four intensive classes on Spatial Sound using SuperCollider. Theory, practice, musical examples played in a ring of 8 speakers (web site hosted at CCRMA. November 2/4, 8/10 2010
"A Very Fractal Cat" was performed in the first Kl. Wasserspeicher Concert on September 24th. The talk "CatMaster and “A Very Fractal Cat”, a piece and its software" was also part of the conference
A performance of "Un Gato muy Fractal" and a subsequent talk about the piece and its software at LIPM, Centro Cultural Recoleta, Buenos Aires, August 27th 2010 at 7pm
Students from the 154 and 222 courses finished the quarter with a concert in the CCRMA Stage.
On May 3rd 2010 at the Kikker Theater in the context of the Linux Audio Conference (LAC) 2010
Performed at CCRMA's Modulations 2.2 Event on April 17th 2010
I'm currently teaching a new course at CCRMA, "Sound in Space" or Music222 (historical background, techniques and theory on the use of space in music composition and diffusion, listening and analysis of relevant pieces, experimental work in spatialization techniques). If you are a CCRMA user you can browse the course materials.
Of Dinosaurs and Other Creatures
The Well Modulated Dinosaur
The Love Songs of Flying Dinosaurs
The Miraculous Multiplication of Strings
Y Sonó Como Arpa Vieja
Un Esqueleto en la Cocina
The Hidden and Mysterious Machinery of Sound
Modulate me, please?
Toast and Jam
Divertimento de Cocina
Velvet Skin, Heart of Steel
Fugue 1 (Fanfare)
A Very Fractal Cat, Somewhat T[h]rilled
65 Second Bycicle
The Dinosaur At War
El Dinosaurio Habla
Kitchen <-> Miniature(s)
House of Mirrors
With Room to Grow
Knock knock, anybody there?
Espresso Machine II
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