I’ve been catching up with friends in Melbourne. We’re getting to the age where we can legitimately reminisce about good old times. Back Then it felt like an exciting time and place to be making music, art. Yeah yeah everyone feels their own little scene is special when they’re young, but what we were really talking about was that there seemed to be a big conversation going on. Doesn’t seem that way now. Is there a conservation still going on, and if so why aren’t we taking part in it?
Back in London, where is the conversation?
I always feel awkward about going back somewhere I know people. After an absence, they’ve moved on and I’m going to keep trying to put them back where they used to be. (This worry disappears as soon as we meet, of course.) Went to the Melbourne Now show at the Ian Potter Centre and enjoyed it for the wrong reasons, then met a friend for lunch. She disliked the show, finding it disappointing, superficial. I told her too much London art was even shallower. What had gotten me inspired was just seeing so many people back from the old Conversation still making stuff. Still not sure if this is a misguided thought.
Running with the pack is one thing, but what I miss is the feeling of competing against everyone at once – or at least of trying to hold up one’s own end of an ongoing discussion.
(Wanting to contribute to an interesting dialogue is the main impetus driving my work.)
For the last couple of weeks I’ve been working on a new piece for digitally-emulated feedback. It’s basically an attempt to use a laptop computer to autonomously generate a wide range of interesting sounds, live, within a relatively simple software setup. I hadn’t worked seriously with this method since 2008, when I played a few gigs using this method. Although the system produced a nice palette of sounds, there turned out to be no real way to change the basic nature of it from one moment to the next, which made the performance feel rather undifferentiated. This new piece is working on that last point.
In an attempt to use the same principles I’d worked with when making pieces out of analogue feedback oscillation, I tried making a similar type of music with more portable and robust equipment i.e. a laptop computer. I made some pieces in AudioMulch by patching together various sound processing contraptions into circuits. The circuits created feedback loops which generated a signal that was modulated by the interaction of the circuit’s constituent parts. Because they were intended for live performance, I put some of the critical control points in the system under my own control, while the computer handled other controls independently.
For this new piece I have relinquished all direct control (so far). It’s still being built in AudioMulch, using only the contraptions that come with the programme. (A dizzying array of freeware plugins can be found on the web.) It’s a new layout of feedback circuits but instead of monitoring control points within the circuits, I’m getting the computer to constantly micro-manage every possible parameter within each contraption in the circuit. To do this I’ve written a simple script which generates chance-determined MIDI control signals for nearly 500 parameters within the system.
It’s going to take a lot more refining, both in the circuit design and in the controlling script, but it’s all sounding extremely promising. I’ve temporarily uploaded some sample recordings on SoundCloud, where you can hear how the early versions of the piece developed from crude to less crude to the not-bad state in which it exists today. The latest version is embedded below.
These recordings are purely a demonstration of the software doing its thing. I haven’t intervened at any stage, tweaked any of the sounds or edited anything out. As a comparison, I’ve uploaded a recording of what the circuit sounds like after the control script has been turned off. I’ll worry about how to present this piece as a live performance later.