Solo performance for self-made analog synthesizer, speaker box, found objects and room @ ExperiMontag (Madame Claude), Berlin, 11 MAR 2013. Edited and mixed to be played at maximum volume.
Students from my Experimental Sound Instruments workshop demonstrate their hand-made projects on the final day. Their instruments involved a variety of technologies, including Arduinos, solenoids, motors, transducers, pickups and amplifiers which I presented over the week. This workshop, which I give at the school annually, ran from 04-08 February 2013 at the TAIK MediaLab in Helsinki, Finland. The students presenting were Johanna Storm, Ari-Pekka Leinonen, Scott McGregor, Saku Kamarainen, Ana Gutierrez, Thomas Svedstrom and Rajeev Siewnath.
My next MLab workshop should be in Oct/Nov.
Live set for analog synthesizer, speaker box, found objects and room, 09 Feb 2013, Kodu Bar, Tallinn Estonia. Photos by Terje Toomistu.
Live set for analog synthesizer, speaker box, found objects and room, 07 Feb 2013, Vapaan Taiteen Tila, Helsinki Finland. Photos by Antti Ahonen.
In the rush of CTM Fest and my annual Mechanical Sound Orchestra Workshop at TAIK (04-08 Feb 2013), I realized I completely forgot to post announcements of these two rather informal gigs here. Let’s hear it for my Facebook page, at least…
Thanks to Jukka Hautamäki, Ilpo Heikkinen, Lauri Hyvärinen, Taneli Viitahuhta, Ilia Belorukov, Antti Ahonen, John W. Fail, Marika Agu, Timo Toots and Terje Toomistu for their support in the various aspects of playing and documenting these two performances.
lawrence weschler-seeing is forgetting the name of the thing one sees: over thirty years of conversations with robert irwin
mika taanila-the future is not what it used to be
nick cave and the bad seeds-push the sky away
The Solstice SoundBoxes were intended as small, portable and battery-powered electro-acoustic instruments. They can create a variety of drone and reverb-type sounds through feedback between a small speaker and a resonant piezo-electric microphone. A variety of other features were available, including transparent and backlit speakers, decorations within the box, line-outs and “circuit-bending” body contacts. They could also simply be used as cigar-box amplifiers for whatever other electronic instruments you might have.
On 11 December, I took a huge load to the post office and freed myself for a month-long holiday trip to Marfa, Texas. Out of an edition of 30, 27 were sold or gifted to people, which ain’t too bad for a week’s worth of promotional work. You can see the most of the run below. I plan on another edition in January or February. Stay tuned… and happy Solstice!
The roster of recipients [in no particular order]:
Lars Lundehave Hansen
Jason R. Butcher
Stefan Paul Goetsch
Luka Ivanovic [not pictured]
I recorded these pieces with Jelena Glazova already last Dec/Jan 2011-12, but they sat around for a while as two people with very busy lives tried to decide what to do with them. Thankfully, Jelena took the initiative in selecting and mastering some of the better moments and put them up in her Bandcamp page. Expect heavy slabs of drone with some nonlinear distortion skittering around the edges. I think Track 4 (“15th Session”) shows the best balance of our two different sound worlds. Thanks Jelena!
Derek Holzer vs Jelena Glazova by Derek Holzer and Jelena Glazova (2012)
1. 19th session 07:30
2. 13th session 07:46
3. 18th session 07:52
4. 15th session 06:40
5. 27th session 07:32
6. 11th session 06:48
7. 24th session 08:28
8. 26th session 06:09
9. 29th session 07:47
Improvisation sessions recorded during residency at MoKs Arts Center, Mooste, Estonia, winter 2011/2012, selected/mastered March – October 2012
Jelena Glazova is an artist and a poet based in Riga, Latvia. She is working in the interdisciplinary areas of contemporary art, combining in her works image, poetic text, experimental sound and installation. Experimental music activity field – noise/drone, usually constructed from processed vocals.
Derek Holzer is an American sound artist based in Berlin DE, whose current interests include DIY analog electronics, sound art, field recording and the meeting points of electroacoustic, noise, improv and extreme music. He has played live experimental sound, as well as taught workshops in noise art technology, across Europe, North America, Brazil and New Zealand.
Original soundtrack by Derek Holzer for the short film “Machine Deva”, by Steve Holzer (19min, 2012, TX, USA). A very abstract love story created directly on 16mm film, using familiar and not-so-familiar direct manipulation. Hand color and intervention on found footage with unusual transfer techniques put the visual experience somewhere between cave paintings and a hand-held video of a dream world.
1.0: brief introductions/those who cannot remember [6:06]
2.0: first mutation [4:34]
2.1: the lecture(“étant donnés”) [1:51]
2.2: take the elevator [1:04]
3.0: second mutation/the dance [4:43]
Recorded April 15-May 15 2012, RSS-82 Berlin.
Derek Holzer: analog synthesizer, electronics, pure data, organ, percussion
Steve Holzer: synthesizer(1.0), guitar(2.1)
I will have CDRs of this soundtrack and DVDRs of the film itself available in late November, and I will try to organize a screening in Berlin to coincide with this. Please note that the film itself will not appear online, due to the detailed nature of the film manipulations which lose much of their impact through compression. Unless you are lucky enough to visit a screening organized by myself or Steve, the DVDR will be the next best thing. Please contact me if interested.
TONEWHEELS France Photos
On the Road Again…
22-26 Oct: Neanderthal Electronics Workshop, Det Jyske Kunstakademi, Aarhus DK
26 Oct: Macumbista live set, SPLAB, Aarhus, DK
29 Oct – 02 Nov: Neanderthal Electronics Workshop, Nordic Sound Art, Copenhagen DK
02 Nov: Macumbista’s 40))) birthday whiskey-sipping session, hosted by Mads Bech Paluszewski-Hau, Copenhagen DK. RSVP for info.
05-09 Nov: Neanderthal Electronics Workshop, Sibelius Academy, Helsinki FI
TONEWHEELS is an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions, such as the Light-Tone Organ (Edwin Emil Welte, 1936 Germany), the ANS Synthesizer (Evgeny Murzin, 1958 USSR), and the Oramics system (Daphne Oram, 1959 UK). Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry similar to that used in 16 & 35mm motion picture projectors to produce sound.
The TONEWHEELS Hurdy-Gurdy presented at Acces(s) is not an “interactive” artwork in the common sense. While it does not reward the impatient museum visitor with flashing lights and noises at the simple touch of the button, it does invite participation in the process of technological music creation. Although it first appears to be a very traditional instrument known to many folk-music cultures, it functions in a very different way which can only be discovered by playing it.
The artist would like to thank Tobias Traub of Oroborus Customs e.K. and Carlo Crovato for their invaluable assistance in creating this instrument. Circuits designed by Jessica Rylan and Eric Archer are also used within the system.
More information on the TONEWHEELS project can be found at http://umatic.nl/tonewheels.html
This instrument functions by turning light into sound. The audience is invited to experiment with it, provided that they read the following instructions and handle the instrument carefully.
1) Pick the instrument up by the strap and put it around your neck. You will hold the instrument as seen in the painting shown below, “Jeune fille à la vielle”, by Jules Richomme (1882). Please handle the instrument by the edges. Do not handle the triangular area in the middle, this area is very delicate!
2) Activate the power switch and adjust the volume knob at LOCATION A.
3) Using your the fingers of your left hand, locate the pressure-sensors at LOCATION B. When you press these, you will see different lights turn on at the center of the instrument.
4) With your right hand, turn the crank at LOCATION C. This will spin a wheel printed with transparent patterns. These patterns break up the light which falls on several light sensors, creating the basic tone of the instrument.
5) The sound of the instrument passes through a filter which can change its tone. The controls for the filter are marked in green at LOCATION D. The switch controls whether low, middle or high frequencies are passed through the filter. The controls marked “LFO” can be used to modulate the filter, while the controls marked “FIL” are used to affect the frequency and resonance of the filter.
6) There is also a distortion effect, marked in red at LOCATION E. The distortion only works when the large button has been clicked, and the red light is on. The four controls marked “DIS” control different aspects of the distortion.
7) When you are finished, please gently set the instrument down flat on the table and turn the power off.
1) The speed of the wheel affects the basic frequency of the sound
2) The filter and distortion shape that sound, but can also produce sounds of their own.
3) A good place to start is with the distortion off and all the controls set to the middle position.
4) There are some control settings which may not produce any sound at all!
FREIZEIT MACHT FREI
This hurdy-gurdy project might be the most complicated thing I have ever tried to build, involving quite a bit more technical research and development by myself and several others than I expected at first. All in all, we took about two months to build something that really needed a year to do right. Live and learn, unfortunately in that order. So when it was all over, and I finally had my first free day in ages, I took a little walk in les Pyrénées with Vincent Meyer…
“Catjar in the Rye” (or “Betty”, as she is know to her friends) is an experimental sound instrument built for Swedish composer Andreas Catjar. It combines a chaotic Benjolin synthesizer, extreme fuzz distortion unit, a speaker/contact-mic feedback system and “circuit-bending”-style body contacts into one rugged flightcase. The Benjolin features several modifications, including patchable routing banana jacks, LED lights for the three stages of its analog shift register and an external audio input. I hope to post some sounds and video later on, when Andreas has time to make them.
My thanks go out to Rob Hordijk, who designed the Benjolin circuit, and to Pete Edwards/Casper Electronics for his help in working out the modifications. You can read a few of my thoughts on using analog shift registers for chaotic sound synthesis in this post.
This instrument really represents exactly what I would like to be doing more of these days: customized design and construction of personal sound instruments based on circuits freely available within the DIY electronics community. Please get in touch if you have a project in mind!
“Catjar in the Rye” was commissioned to appear in the Institutet/Markus Öhrn/Nya Rampen theater production “We love Africa and Africa loves us”. The premier takes place on October 5, 2012 at Ballhaus Ost Berlin.
aluk todolo-occult rock[2012 ajna offensive]
The Rainforest project at the LAK Festival for Nordic Sound Art in Copenhagen was a complete success on many levels. The organizational team was fantastic, even without considering that this was their first ever event. While they planned for a modest 100 visitors for each day of the event, the total number turned out to be about 1500 in total. The Rainforest concert opened the festival, and continued as a live installation each day. Many thanks to Rainforest co-organizer (and true soul buddy) Mads Bech Paluszewski-Hau as well as participants Anders Børup, James Brewster, Ejvind Juul Chang and Kristian Hverring for their energy and dedication, as well as to curators Jonas Olesen and Sandra Boss as well as the whole LAK team for a great weekend.
Practice your Danish! SNYKradio interview with myself and Mads Bech Paluzewski-Hau at the LAK festival 2012 by Jan Stricker. Don’t worry, plenty of parts in English too…
Rainforest 2012 // Regnskov 2012 – LAK festival for nordisk lydkunst by My Lambertsen on YouTube.
swans-the seer[2012 young god]
various artists-oh, run into me, but don’t hurt me!: female blues singers rarities 1923-1930[2008 sub rosa]
Getting the computer out of my live sound was the best thing that ever happened to me. When I work with the modular synthesizer, I feel like I have a piece of clay in my hands which I can squeeze in any direction I choose. This short improvisation was made during filming of the documentary “Learning to Listen”, on sound artists in several European cities by London College of Communication students Dann Linn, Marianna Sangita and Andi Spowart.
Soundbox at Norberg Fest, photo by possan
I’m just back from my Swedish gig, where I spent the weekend gazing longingly at leggy blonds and red farmhouses, slapping mosquitoes, sipping expensive beers and teaching 25 people to build small noise-boxes in the summer sun. Concert went great, with a huge Function One sound system in the gigantic, resonant Mimer mine-shaft hall for that all-over body bass-massage kind of feeling. One of the best parts was that, some weeks ago, I dreamt that two friends from Estonia came to the festival with me. When I wrote them about it, they replied, “Roadtrip sounds like a great idea! See you soon!” So they did.
Big thanks to Sol Andersson and Johannes Ahlberg for the invitation and John Anker Corneliussen for the sound! Also managed to catch a few great sets, most notably by Carl Michael von Hauswolff and the lovely drone duo Kyrkan. Just as awesome, and tasty to boot, was James Brewster‘s Electro-acoustic cafe–a mic’ed up espresso stand with the option for extra delay or wah on your foamed milk.
Another great thing was the wide range of folks who dropped by to build these little Neanderthal instuments–people who by and large would never show up at an “experimental noise” gig suddenly discovered the insane, child-like pleasure of making their own noise. A selection of these good people can be seen above. Thony Ekström has posted a 28 minute video of the workshop presentation here. I like the part where the orchestra warms up in the beginning…
I spent quite a bit of July working on this chopper with a student named Alvaro Ayuso. He didn’t quite finish it… a problem if you’re a young Spanish dude with too many friends around I suppose. Synth building is a solitary pursuit. So consider this a work in progress. Good going so far, amigo, now let’s bring it on home!
Tech details: line input, mic input, 2 x line outputs, dual VCA, 2 x VCO, dual VC Slope, Utility LFO, DC Mixer, Steiner VC Filter, Wave Multiplier. All PCBs by Ken Stone/CGS.
And finally… here’s a Serge Power Supply Unit I built for my friend Richard Scott:
Yeah, I guess it’s been a busy month…
old man gloom-no[2012 hydra head]
om-advaitic songs[2012 drag city]
swans-live at berghain[04 aug 2012 berlin](looking forward!)