Pictures of your setup

Laptops, effects pedals, powerdrills.

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hatta
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Re: Pictures of your setup

Post by hatta »

Image

I thought this thread should be arrived to see how people's setups have iterated. While I've been spending most of my musical time of late working on my scores I also have been focusing on two separate aspects of my setup: analog (ish), synths and the prepared wire strung harp. I've been playing these two disparate instruments pretty discretely working out their characteristics on their own. Obviously I have been been working on the prepared wire strung harp for 8 years now, but I often retreat in my application of electronics and playing it acoustically. I have been doing this nearly exclusively with the one of the groups I've been playing been with for the last year and a half.

So the next step has been bring all of this together, the amplified harp set that I'd worked out before, the synths and a bare minimum of effects. And there it is above, the results of a bunch of tinkering, purchases and experimentation. I tend to always break down my setup after each use and it never really assembles the same every time. But this time I'm going to keep this setup, this is my current working setup until I find limitations that are unacceptable. It is hard to imagine that right now, the range and variety of sounds and textures I can make with this is pretty amazing. Admittedly since I'm working with wire strings there is a metallic edge often present and likewise the electronics are clamped to a certain range. But within those limitations (and there are always plenty and that is usually for the best) there is pretty much endless possibilities.
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RFKorp
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Re: Pictures of your setup

Post by RFKorp »

And while I'm contributing to the thread, here's a photo of my drums and stuff since I've had them set up to play a lot over the past week.

Image
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Fourier Transform
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Re: Pictures of your setup

Post by Fourier Transform »

Image

mudd
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Re: Pictures of your setup

Post by mudd »

that looks like it might be unusually edible, as far as music goes.

neat.

m

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Fourier Transform
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Re: Pictures of your setup

Post by Fourier Transform »

mudd wrote:that looks like it might be unusually edible
and unusually drinkable sometimes, too:

Image

This one's Turkish coffee with cloves, with a syrup and demerara rim. Previous picture was eggybread with a demerara glaze.
We aim to be truly multi-sensory.

mudd
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Re: Pictures of your setup

Post by mudd »

i'm actually really intrigued by that. is the sound source only the creative process across the table, or do you involve other sounds or other musicians?

m

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barry
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Re: Pictures of your setup

Post by barry »

p_ano wrote:RE: Behringer

It's not how expensive your wand is, it's how you wave it.

totally disagree... you can wave a turd all you want... still a turd. i have found over the years that quality tools generally yield quality sound.
barrychabala.com

diederich
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Re: Pictures of your setup

Post by diederich »

mudd wrote:i'm actually really intrigued by that. is the sound source only the creative process across the table, or do you involve other sounds or other musicians?

m
Seconded! I'd love to know more.

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Fourier Transform
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Re: Pictures of your setup

Post by Fourier Transform »

is the sound source only the creative process across the table
Well - what started off as an affectionate and tongue-in-cheek tribute to the Sonic Catering Band has ended up morphing into something quite worthwhile in its own right. In the current format, it's a series of short (10-15 minute) performances for small audiences of between 1 and 4. The idea is, in a very personal, intimate setting, to arouse all of the audience's senses. Karine cooks small portions of wonderful food and drink, and I'm taking a feed from four vocal mics placed closely around the cooking and preparation area, running them through some software and then out through the PA. Live sampling and processing. So the only source material I have is what's coming through the mics. When the audience first enter the room, there's usually a mouth-watering smell left over from the previous performance. They then get to closely observe food being prepared (they're seated about 4 feet or so from the table), smell it being prepared, hear it being prepared, hear me messing with the sounds of it being prepared, and finally, when it's ready, then get to eat/drink it. The ritual of preparation really heightens the anticipation of eating, and the recipes are specifically chosen to be fragrant and full of flavour. People are so used to just seeing and hearing at performances that it adds an extra dimension to be able to smell and taste - and think - as well.

The kind of music I make obviously depends on what's being cooked. The eggybread will involve beating an egg, which is very rhythmic and very wet, and then the sizzling of the butter in the pan is a pretty stunning sound when amplified in stereo. Stir-fried carrots and shallots in ginger and honey involves lots of chopping and slicing. The Turkish coffee involves some excellent gloopy bubbling, and of course the roar of the gas burner can get pretty fierce. Run all these things through some patches, loop some stuff, slow some stuff down, build up a thick soup of partially organic noise and you can end up with a pretty powerful and dizzying experience all round. It's really nice for the audience to hear sounds being transformed that they've seen being created.

So it's a duet, but not in the usual improv sense, because although I'm obviously responding to what Karine's doing (I've got no choice!), she isn't responding to what I'm doing so much. Which is to say, she might chop more aggressively if she feels it would work, but she's not joining in by tapping out her own polyrhythms on saucepans, which would be ridiculous. It's more like, she's engrossed in the act of preparing the dishes, and I'm just feeding (ha ha) off her actions.

We've done it twice so far - one 8 hour session (with performances booked every 20 minutes) in a small room as part of an art festival, and then a less rigidly structured 6 hour session as part of a food festival, where people were more free to come and go. And we've both been bowled over by people's responses to it. I've never done anything that's had such a positive impact, I don't think - people seem to be mesmerised during the performance, and then incredibly surprised and grateful to be given the results to consume. It's an all-round winner!

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Richard Pinnell
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Re: Pictures of your setup

Post by Richard Pinnell »

Sounds good Simon.

I saw Lee Patterson and Helena Gough play a great set at the Huddersfield Festival a year or so ago that involved only sounds made with food / cooking. It was impressive to see Lee stand on stage in front of a hundred or so people frying an egg and still make music that transcended mere gimmick value.

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Stephen
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Re: Pictures of your setup

Post by Stephen »

Image

From a recent performance. Piano prepared with 4 guitar pickups, 2 butchered speakers and 2 piezo transducers (driven by home-made amps). Tymps prepared with shells, chimes and sheet tin.

Chromosome
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Re: Pictures of your setup

Post by Chromosome »

Neat concept, Fourier Transform.

Imagephoto by Chelsea First
Checkin my email ;) just kidding.
Last edited by Chromosome on Fri Nov 14, 2008 5:09 am, edited 2 times in total.

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O'Grady
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Re: Pictures of your setup

Post by O'Grady »

Fourier Transform wrote:
is the sound source only the creative process across the table
Well - what started off as an affectionate and tongue-in-cheek tribute to the Sonic Catering Band has ended up morphing into something quite worthwhile in its own right. In the current format, it's a series of short (10-15 minute) performances for small audiences of between 1 and 4. The idea is, in a very personal, intimate setting, to arouse all of the audience's senses. Karine cooks small portions of wonderful food and drink, and I'm taking a feed from four vocal mics placed closely around the cooking and preparation area, running them through some software and then out through the PA. Live sampling and processing. So the only source material I have is what's coming through the mics. When the audience first enter the room, there's usually a mouth-watering smell left over from the previous performance. They then get to closely observe food being prepared (they're seated about 4 feet or so from the table), smell it being prepared, hear it being prepared, hear me messing with the sounds of it being prepared, and finally, when it's ready, then get to eat/drink it. The ritual of preparation really heightens the anticipation of eating, and the recipes are specifically chosen to be fragrant and full of flavour. People are so used to just seeing and hearing at performances that it adds an extra dimension to be able to smell and taste - and think - as well.

The kind of music I make obviously depends on what's being cooked. The eggybread will involve beating an egg, which is very rhythmic and very wet, and then the sizzling of the butter in the pan is a pretty stunning sound when amplified in stereo. Stir-fried carrots and shallots in ginger and honey involves lots of chopping and slicing. The Turkish coffee involves some excellent gloopy bubbling, and of course the roar of the gas burner can get pretty fierce. Run all these things through some patches, loop some stuff, slow some stuff down, build up a thick soup of partially organic noise and you can end up with a pretty powerful and dizzying experience all round. It's really nice for the audience to hear sounds being transformed that they've seen being created.

So it's a duet, but not in the usual improv sense, because although I'm obviously responding to what Karine's doing (I've got no choice!), she isn't responding to what I'm doing so much. Which is to say, she might chop more aggressively if she feels it would work, but she's not joining in by tapping out her own polyrhythms on saucepans, which would be ridiculous. It's more like, she's engrossed in the act of preparing the dishes, and I'm just feeding (ha ha) off her actions.

We've done it twice so far - one 8 hour session (with performances booked every 20 minutes) in a small room as part of an art festival, and then a less rigidly structured 6 hour session as part of a food festival, where people were more free to come and go. And we've both been bowled over by people's responses to it. I've never done anything that's had such a positive impact, I don't think - people seem to be mesmerised during the performance, and then incredibly surprised and grateful to be given the results to consume. It's an all-round winner!
Don't wanna jack this thread but I have to chime in and say how sad I was to miss the performance of this in Cardiff, I was over in Sheffield on that weekend. Friends and I were discussing it the week before trying to work out from the description in Chapter's programme whether the audience actually get to eat/drink the results. Would really love to experience this anyway, let me know if you're coming down again. Nice one Simon.

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grisha
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Re: Pictures of your setup

Post by grisha »

Itly-Grz (68).jpg
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Alastair
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Re: Pictures of your setup

Post by Alastair »

I see that the floor is the new surface to play on, replacing the table.

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jon abbey
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Re: Pictures of your setup

Post by jon abbey »

the really cool people play on the ceiling.

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jkudler
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Re: Pictures of your setup

Post by jkudler »

since i posted on another thread:

Image

Image

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Re: Pictures of your setup

Post by Chromosome »

Alastair wrote:I see that the floor is the new surface to play on, replacing the table.
Tables are so last millenium.

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bryan
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Re: Pictures of your setup

Post by bryan »

jkudler wrote:Image
We have ways of making you talk...

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grisha
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Re: Pictures of your setup

Post by grisha »

Image
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