The Edinburgh contingent (myself, Sean Williams, Lauren Hayes and Martin Parker) toasted the start of our week at STEIM with a session in studio 2, the fruits of which are embedded below. I wasn’t doing anything particularly mind blowing, just using my treasured wee DPA mic as both sound source and control mechanism.
Not sure that I’m overflowing with critical insights about these yet, save for the fact that a) I over-play (I must have been excited) b) We laptoppers trod on eachother’s sonic toes somewhat (mea culpa, in this second clip I muddied the waters by abandoning the mic and starting to use samples) and c) conqseuently there’s a lack of consistent character to much of what I contributed.
Whilst here I’m going to do some much deferred work on honing some techniques with this. I’ve been looking recently at an implementation for Max/MSP of empirical mode decomposition by Doug Van Nort and Kyle McDonald as a way of extracting audibly relevant features at different time scales. This would have an immediate place in a number of forthcoming projects, including decomposing room ambiences, driving sample manipulations partly from the activities of an MC, and setting up schemes for allowing instrumental coplayers to steer (or at least influence in a scrutable way) live electronics from their playing. Immediately though, I’m going to look at what I can do with this and vocal gestures, as a continuation of a recently discovered penchant for doing sub-Phil Minton style squawking and yelping.