Archive for the 'lowtech pedals etc.' Category

25
Feb
11

recordings 2010-2011

In December and January I recorded all the commissioned works from my research project on a CD, and a separate CD with improvisations, together with Peter Tornquist. Mats Claesson, from the Academy of Music is the sound engineer on these productions, and also does most of the mixing. We work together to find the best cuts, and then he does the final mixing.

January 27 Diemo Schwarz came to the Academy and did a 3-hours recording session, improvising along his beautiful electronics. It was really cool to do this recording with him, and to make a suitable setup for CataRT, sending out the lines from the electronics separately. I used all my guitar gear, especially playing around with my Angel Dust-pedal (distortion and noise), which I borrowed from John Hegre.

Mats Claesson is editing and mixing/remixing the favourite parts of the recording this week.

Mats Claesson and Diemo Schwarz at the session
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22
Feb
11

highlights from autumn 2010

Playing TBA with guitar pedals

The collaboration with my colleague Terje Moe Hansen was really interesting. He has been researching how Paganini’s violin technique gave extended technical possibilities on the violin in his time. Terje  has also made a set of own violin techniques, and he uses his own and Paganini’s techniques together in a virtuoso way. Especially “the other way round hand position”, which means that the whole hand is placed of the left side of the finger-board, and you get access to the thumb as a fifth finger.

Terje has no problem making the violin sound like a seagull, and he used all his brilliant techniques in our improvisation. Based on Paganini’s caprice no. 24, we worked with hip-hop loops, free impro over a time-stretched Rachmaninov’s Variations over a theme of Paganini, and fiddling around with the theme itself.

Terje also played his own pieces in the concert, and a piece by Ivar Frounberg, joined by the fantastic trombone player Niels-Ole Bo Johansen. He just impressed me with his Sequenza by Berio.

November 8 I made an introduction about noise, which I held at the Levin hall at NMH. I also performed Jon Hegre’s piece TBA. The piece is improvised over certain instructions by the composer, and one of them is to make a wall of noise. Using two fuzz pedals and crush tones, I had expected the piece to be really loud, but I don’t think it was loud enough. Nobody even reacted to the piece after the concert.

01
Jun
09

audiovisual satelite

On May 7th Mattias Arvasstson and I had our performance at the Museum of contemporary Art in Oslo. We tried out the idea of using the movement, colours and pulsation of the video as a musical score, using Mattias,s object for projection. That meant that we did not have to have any walls for projection and did not have to interfere into the exhibition as such. Originally it had been the meaning that the concert installation should take place in the big exhibition room. It is very light in Norway during the summertime and i realised that during one of the visits to the museum that this room was much too light for projection.IMG_5222 We ended up to get a beautiful empty room at the second floor. Many thanks to Anna Lindblad at the the Museum of Contemporary Art who helped us to get this space and to arrange the concert.

On photo: The original space for the performance.

For the first time I played a concert without any soundperson there. I realised that the acoustics changed  a bit when the audience came, and I think I will bring a stage monitor for the next performance. I used 6 genelecs, one on the object and the one with pure violinsound behind  me, and the rest in in each corner. Again I used the a granulation process using 3 buffers with different lengths, pitching and grainlength. Thanks to Edvin Østvik for the beautiful and user-friendly maxpatch !We had to carry all the equipment ourself which was really hard!

After rigging up we got visitors from the Academy of music, the electroacoustic composition class came to see what we where doIMG_5253ing.

On photo: The performance space

Having 9 footpedals I got a very broad setup. I am looking forward to experiment more with some smaller controllers and setup.

I will also for the next performance have visual monitor in order to see the visuals better.

31
May
09

Satelite on the top of the opera

opera_snohetta

It has been a very busy but interesting process working and performing the two Satellite concerts. The first one taking place at the Roof of the Norwegian opera and Ballet April 28 and the second one in a beautiful big space at the Museum of contemporary Art. Being in charge of the planning of the operaroof I had to go into the topic of projection, choice of lenses, amount of ansilumens when the goal is to have the projection as clear and big as possible. The size of the wall we wanted to project on was 14.5x 32 meters, and sunset was around 9 pm. I decided to go for 10 pm and hoped for good weather. I also had a “bad weather plan” hiring party -tents, but fortunately I did not have to go for that. On the actual day it was some scary black cloud, but it never rained! A bit cold though about 10 degrees.

To rig up PA and projectors took more planning than I would have thought. It felt like having a concert on the top of a mountain except that we had access to electricity.  I got very good support and help from Knut Vik and lot of people from the Academy of Music helped to rig down after the concert. I had decided because of the wind not to use music but have it on a PDF on the computer. Ivar Frouberg had made me a beautiful little maxpatch that could turn pages. I worked very well and secure. I was practising with the patch for about a week, in order to be able to use the foot for turning the pages (Yamaha midi FC) as well as using other pedals (fuzz, octaver, delay) For Elektra I also had to follow the maxpatch (triggers and timing) on another computer. All this technical issues worked out very well, although I from time to time during Elektra was very busy!

ellen

To get the projection as big as we got it worked out well, surrounded by the city on the big marmoreal roof. The volcano in Elektra became huge, and I became very small, which I see as an interesting contrast. The fact that the size of the projection was so big made a better communication between the music and the video. At the most I think it was around 400 people at the roof, something I founded very good.

Thanks to Ellen Roed who took some photos!

I got a lot of press on the project, also at Østlandsendingen (TV)
For links (in Norwegian only see links)

hc

http://www1.nrk.no/nett-tv/distrikt/ostlandssendingen/verdi/98274
http://universitas.no/s0k/et%20samtidseventyr/
http://www.ballade.no/nmi.nsf/doc/art2009042413190695170061

On photo: The city of Oslo seen from the top of the opera photo Lena Nielsen Universitas

15_kult_victoriajohnson4_web_LN.jpg$C-1$W782$H400$pan1$Q




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