The San Francisco Tape Music Festival 2015, San Francisco, January 9th 2015
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)
Workshop: Técnicas de Espacialización y Difusión en Composición Electroacústica, 1º Congreso Internacional de Artes, Revueltas del Arte, Buenos Aires, Argentina, 2014
Spatialization and Diffusion Techniques in Electroacoustic Music Composition, a three day workshop on techniques for diffusion and spatializacion in electrouacoustic music.
Curator: 40, 50, 80 - CCRMA en Montevideo, Montevideo, Uruguay, Nov 11 2014
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.
Workshop: Herramientas de Software Libre para la Espacializacón de Sonido (Free Software Tools for Sound Spatialization), Estudio de Música Electroacústica, Escuela Universitaria de Música, Montevideo, Uruguay, 2014
I have been awarded this year's (2014) Marsh O'Neil For Exceptional and Enduring Support of Stanford University's Research Enterprise
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.
Triple CCRMAlite: 40, 50, 80, Stanford, October 26-27 2014
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.
Audio Engineering Society Convention, Los Angeles, USA, Oct 9-12 2014
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
ICMC / SMC 2014 (International Computer Music Conference, Sound and Music Conference), Athens, Greece, Sep 14-20 2014
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!
Multi concert series 2014 Lydgalleriet & BEK presents: An ambisonics concert feat, June 26 2014, Bergen, Germany
Velvet Skin, Heart of Steel was featured in the June 26th concert curated by Natasha Barret.
Residency at ZKM, Karlsruhe, Germany, May 5-12 2014
LAC 2014 (Linux Audio Conference 2014) at ZKM, Karlsruhe, Germany, May 1-4 2014
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
"Vexations [Re-vex'ed] II 2014", two sets at the 22-hour improv marathon on a theme by Satie, March 22/23 2014, Berkeley Arts, Berkeley
Participated in the 22 hour marathon with two 1/2 hour sets (at 6:30pm and 9:30pm) using "El Dinosaurio" augmented by computer.
CCRMA Winter Concert, March 14 2014, Bing Studio, Stanford
CCRMA Fall Concert, December 4 2013, Bing Concert Hall, Stanford
(picture thanks to Ge Wang)
CODAME ART+TECH: 5ENSES, November 1-2 2013, San Francisco
Electronic Music Week 2013 October 19-25 2013, Shangai, China
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
CICTeM 2013 September 24-26 2013, Buenos Aires, Argentina
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).
Semana del Sonido (The Week of Sound), August 20-24 2013, La Plata, Argentina
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
Outsound New Music Summit, July 21-27 2013, San Francisco
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)
"LAC 2013 (Linux Audio Conference 2013) at IEM", IEM, Graz, Austria, May 9-12 2013
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
"Divertimento de Cocina", Modulations 2013, April 6/7 2013, Broadway Studios, San Francisco
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.
"Vexations [Re-vex'ed] 2013", two sets at the 22-hour improv marathon on a theme by Satie, March 23/24 2013, Berkeley Arts, Berkeley
Participated in the 22 hour marathon with two 1/2 hour sets (at 6pm and 10pm) using "El Dinosaurio" augmented by computer.
"Velvet Skin, Heart of Steel", Sonic Boom! concert, March 16 2013, Bing Concert Hall, Stanford University
A new 3D rendered computer music piece, premiered in the Sonic Boom! Bing concert using our 24.6 3D diffusion system.
From Constantinople to California, February 1st, 2013, Bing Concert Hall, Stanford University
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.
Curated the Sonic Boom! concert, March 16 2013, Bing Concert Hall, Stanford University
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]).
"Fugue 1 (Fanfare)", Bing Concert Hall Opening Night, Jan 11 2013, Bing Concert Hall, Stanford University
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 Very Fractal Cat", CCRMA Fall Concert, November 29th, 2012
Curated the Transitions: Soundscapes under the stars concert, September 27th 2012, CCRMA Courtyard
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.
"LAC 2012 (Linux Audio Conference 2012)", CCRMA, April 12-15 2012
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:
"Jurassic Modulations" in the CCRMA Winter Concert, February 24th 2012
Live improvisation performed together with Kurt Werner, full 16 channels 3D sound in the CCRMA Stage.
"Earth Songs", Transitions Night 2, September 29th 2011, CCRMA Courtyard
New version of Earth Songs rendered to our new 16.4 3D outdoor sound system.
Curated the Transitions: Acousmatic: Soundscapes under the stars concert, September 28th 2011, CCRMA Courtyard
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
"Earth Songs" @ Composing for Large Scale Multi-Channel Loudspeaker Environments, June 5th - 10th 2011
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).
"Espresso Machine II" and "House of Mirrors" revisited
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 Very Fractal Cat: of Cats, performers, composers and programmers", an article published in eContact! 13.2
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.
"Dinosaur Skin" at CCRMA's Modulations 2011
A shorter (approximately 20 minutes long) version of Dinosaur Skin performed at the CCRMA Modulations 2001 concert, April 2nd 2011
"Quest" at the CCRMA Winter Concert 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" at the CCRMA Fall Concert - a Cagean Musicircus
"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
Spatial Sound workshop at GAFFTA
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
"Un Gato muy Fractal" @ LIPM
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
Sound in Space Concert
Students from the 154 and 222 courses finished the quarter with a concert in the CCRMA Stage.
"A Very Fractal Cat, Somewhat T[h]rilled" at LAC2010
On May 3rd 2010 at the Kikker Theater in the context of the Linux Audio Conference (LAC) 2010
"A Very Fractal Cat, Somewhat T[h]rilled" at Modulations
Performed at CCRMA's Modulations 2.2 Event on April 17th 2010
Sound in Space Course
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.