Producing and working on several noise-experiments seemed natural during this strange war-saturated days.
Chris and sometimes friends of the Avatar Orchestra Metaverse were included into several musical jams and noisy little performances we did on synthesizers, granular-engines and numerous glitched field-recordings.
We were able to release a few sounds of our latest impromptu sessions, live performed and recorded at Studio Tokyo.
During this high temperatured and almost cocooned summer i found time to explore and study a lot of my collected and new bought sound-gear. There were so many gaps to close and learning curves to rise – time ran away fast and without any boredom.
With Chris i met weekly and we were able to record a lot of jams and project-sparks for our planned two albums, which will be released soon.
Max came back from his summer travelling and we met as soon as possible to talk about more virtual and cyberspace related art projects in the near future.
For Max´s and Frieda´s POZOR UTOPIA finissage we had to plan realtime visuals on the virtual building and performance space into Second Life.
One variation of my Novae performance seemed to fit well for that project and i had a nice virtual simulation meeting with Max.
And as a final summer activity i produced with Max and Chris an synthesizer based experimental new track with vocals from Max – completely live performed and recorded on this moment. So this summer is now successfully and officially finished for me.
In this music-video all latest impressions and emotions are weaved together – nothing more to say at the moment.
During the last days we did experiments and research on sounds we field-recorded with KOMA Elektronik´s neat little box of wonders named „Field Kit“ and their expansion pack with motors, solenoids, contact microphones, marbles, springs and electromagnetic sensors.
My students had a lot of fun by testing the possibilities of sound-creation with different sources as singing bowls, toys, water bottles, bento boxes and other pieces of our school environment.
We recorded a lot of interesting sounds by experimenting around with the very sensible contact microphones and routed the results into Ableton Live to modify them again with creative delays and reverbs of all kinds.
To create some pulsing beats we used a little motor element, placed on a plastic socket between glass marbles. The motor got its impulse by a low-frequency-oscillator signal via VC on the Field Kit.
With all that different sounds we got, it was on us to produce a freaky noisy piece of sound-art with. Noisy Radio Signals were also added to our collection of sounds and with the little help of granular synthesis, an ambient texture got layered into our cute sound-setup.
And so it came that the next hours we spent again on Ableton Live to arrange our set of audible happiness and mixed a nice mysterious work out of all our collected sound snippets.
With the Field Kit and our ideas we were able to get such a nice enriched horn of plenty. I am thrilled in expectations which will be the next sound project we approach.
While collecting and arranging assorted analog and semi-analog synthesizers from Japan and Russia, more and more the final setup for my starting noise-expedition gets done and ready for takeoff.
My video shows a few of the actual audible results on this journey into extraordinary sounds and noises. Below this i go into the setup details and show all involved devices in particular.
SOMA´s powerful and dark sounding Lyra-8 is still the mothership in my noisy chamber orchestra, but gets competitive partners by JMT´s two unique noise-synths named LD-1 and TVCO-2a. Both produces wonderful harsh and if needed vibrant glassy shockwaves of sound.
For the final seasoning and roundup a few reverbs, a delay and also Moffenzeef´s MSG II noise-drone-synth comes into the game.
The MSG II is connected to Lyra-8´s external input and brings wobbling drones into the organismic sparkling circuit there.