Extreme sound design, radical electronic music, and the impending hardware revolution — Darwin Grosse recently sat down with Symbolic Sound’s Carla Scaletti, and the resulting conversation took some unexpected turns. Listen to the full podcast on Darwin Grosse’s Art + Music + Technology podcast.
Emergence — it’s what a complex system of interconnected agents can do collectively that they could not do in isolation. Emergence goes beyond the idea that the whole is greater than the sum of its parts — emergence arises from the relationships among those parts. Emergence is that seemingly magical moment when an unanticipated novel behavior or dynamic pattern arises from a complex network of simple components and rules.
Symbolic Sound, in partnership with De Montfort University’s Faculty of Art, Design and Humanities; the Music, Technology and Innovation Research Centre, and the Performance Research Group, invite you to participate in the eighth annual Kyma International Sound Symposium and to explore emergence with an international gathering of Kyma practitioners ranging from experts to aspiring experts and including many who have never used Kyma before and are simply curious.
Get the inspiration, support and professional connections to motivate and energize you for the rest of the year. Join us at the Kyma International Sound Symposium (KISS2016) — 7-10 September 2016 in Leicester, UK — as we explore the concept of “Emergence” through 4 days and nights of words, live musical performances, open labs, and interactive discussions.
Unique features of this year’s program include an improvised conduction performance by the Emergent Ensemble; a 3-D sound immersion lecture/concert in De Montfort University’s 20+ speaker DOME; a 3-D film with a live sound track; workshops on ecosystemic composition; collaborations across international and disciplinary borders; and a celebratory club concert featuring live Kyma with acoustic instruments, vocals and analog synthesis.
Live performances featuring some of the most cutting edge music composed with Kyma this year, lectures where Kyma practitioners share their insights and reveal a few of their secrets, master classes and labs led by the creators of Kyma; and the unparalleled camaraderie and inspiration from your fellow sound and music explorers — these are some of the regular features of KISS that inspire people to return to KISS year after year.
Explore the full program here: http://kiss2016.symbolicsound.com/program/
Register now to immerse yourself in the fun, hands-on creative technology environment that will inspire you for years to come! http://kiss2016.symbolicsound.com/kiss2016-registration
Based on current registration levels, we are anticipating a record turn-out this year. So please be sure to reserve your spot by registering as soon as possible. Do it today so it doesn’t get forgotten on your to-do list. (Please be advised that there is a strict upper limit on attendance based on the venue sizes). Thanks!
Photos by Belinda B Carr.
NeverEngine Labs (Cristian Vogel and Gustav Scholda) have announced a new set of classes and tools for creating and manipulating multicycle wavetables and audiofiles with embedded markers in Kyma 7. The new ROM tools can be used for creating multisample players and to prepare audio files for morphing oscillators, grain envelopes and wavetable libraries.
Available from: http://www.cristianvogel.com/neverenginelabs/product/rom-tools
In Looking Back, Looking Forward, Scaletti uses mythology, evolutionary anthropology, nostalgia research and a story about the origins of Kyma to illustrate the idea that software is “hardware with cognitive fluidity”.
The Listening Back, Listening Forward issue marks the beginning of Computer Music Journal‘s 40th year of publication and, citing recent research showing that nostalgia enhances creativity, CMJ editor Douglas Keislar invites readers to share their own computer music stories for possible publication as letters to the editor throughout this anniversary year.
Also in this issue: Silvia Matheus reviews The Seventh KYMA International Sound Symposium (KISS2015)!
Anna Martinova’s new album Белые сны Dusha is now available on iTunes.
Luxuriously ambient tone paintings with just a touch of frozen exhalation from the arctic, the music on Dusha is as uplifting as it is peace-inducing. A continuation of The Soul project and Martinova’s Tulpa psygressive work, Dusha is also heavily influenced by her discovery of Kyma.
I must say it is such a pleasure to work with Kyma, so incredibly inspiring.
Martinova works by generating WAV files in Kyma, arranging them in Logic, adding melodic lines created with Alchemy, and finally layering in recorded vocals using Logic. This is the first album on which we get to hear Anna’s vocals (all recorded at night, when her child is asleep and her cat isn’t jumping on the speakers).
Martinova is already hard at work on two more albums in the series. As a taste of what’s in store, here’s a song from the second album in the series Душа / The Soul. The music came to Martinova in a dream after she learned that a dear friend was experiencing a tough situation; she heard this music as a link connecting her to her friend:
Composer/performer, Steven Ricks invited Carla Scaletti to Brigham Young University for the week of March 7 to work with his students, present lectures, and participate in two concerts. Here’s the full schedule:
Tuesday, March 8
Barlow Lecture: “Data-driven”
3PM at BYU (E400 Harris Fine Arts Center, 50-minute lecture)
Wednesday, March 9
“Computer Music” Looking back/looking forward
11AM E400 HFAC, 50-minute lecture
Thursday, March 10
Overview of Kyma 7
11AM at BYU Electronic Music Studio
Thursday, March 10
Group for New Music, featuring works by Scaletti, Adler, Cage, Pärt
7:30PM BYU Madsen Recital Hall
Friday, March 11
7:30 PM Art 270 Gallery
Salt Lake City
So-called new music employs the aesthetic of resistance, of irritation, of reflection. But why, in comparison to the visual arts, is the abstract and contextual musical work still so difficult? Schoenberg’s prediction that his work would be understood in 50 years is today still an illusion…
The ear develops over time from mere alarm organ via the detour of seduction toward the organ of knowledge, a harrowing perspective on the inner and outer world.
Liberda is a composer, promoter and performer. His Lecture Performance is a tour de force through the history of sound systems, instrument development and notation systems towards a new theory of hearing.
Text and Performance: Bruno Liberda
Idea, development and scenic design: Fanny Brunner
Dramaturgical assistance: Hans-Jürgen Captain
Graphics: Klemens Wihlidal
Duration: 80 minutes
Premiere: March 12, 20:00 // Ateliertheater, Burggasse 72, 1070 Wien // 12 Euro
Box office at 19:00 // Reservations at 0681 819 630 or 62 email@example.com
A co-production of january thirteenth Vienna and Wiener Klangwerkstatt.
Scott Miller has a jam-packed schedule of upcoming collaborations with robots, humans and Kyma electronics. Here are a few highlights:
23 February, ALL DAY: SCSU Performing Arts Center 158, FREE!
On February 23, as a part of the MNMade Festival at SCSU, composer Scott L. Miller and musical roboticist Troy Rogers are holding a free open workshop and rehearsal on composing for robots. Everyone is invited to observe, assist, and ask questions as Scott incorporates theatrical lighting control into his Kyma ecosystemic environment for his new piece Détente.
27 February, 7:30 pm: SCSU Ruth Gant Recital Hall, FREE!
On February 27, you’re invited to the MNMade Festival concert, featuring works by Per Bloland, Troy Rogers, student participants, and Scott Miller’s updated ecosystemic robot piece, Détente.
15 March, 9:00 pm: The Nicollet, $5
In Minneapolis on March 15, Ars Electroacoustica celebrates the Ides of March with visiting saxophonist/electronics artist Jorrit Dijkstra, saxophonist Nathan Hanson, Scott Miller on Kyma and Ted Moore on laptop.
16 March, 7:30 pm: SCSU Ruth Gant Recital Hall, FREE!
On March 16th, Jorrit Dijkstra will be at St Cloud State University where he and Scott Miller will present a concert of improvised music for saxophone, electronics, and Kyma.
20 March, 5:30 pm: honeympls, $5
On March 20th, Ars Electroacoustica welcomes Adam Zahller to Minneapolis for a session with recorder & electronics (Scott Miller on Kyma).
Interested in collaborating with Scott Miller on future Ars Electroacoustica concerts? Let him know!
Tarantino is “truly an aural enthusiast and very much a sculptor of his cinema through the use of sound and music,” according to his longtime supervising sound editor, Wylie Stateman, who continues,
Sound is a major contributor to Quentin’s films and often the secret sauce that makes the meal just gel and come together as a coherent recognizable work…
Audio is very different from the other filmmaking aspects… Audio is very mysterious — a force that is just truly present in the moment. It’s just a vibration in the room. It’s something that the audience experiences but can’t see and can’t touch. It’s a different kind of art form, and as an audio artist I love working for Quentin because he is so particular and he values the contribution that sound makes to the experience of watching his film.
Tarantino is fascinated with the sounds of the actors’ voices and he wanted the ninth adversary in the film, the blizzard, to have its own character and its own unique ‘voice’. For that challenge, Stateman and co-supervising sound editor Harry Cohen called in sound designer Sylvain Lasseur. Sylvain brought in his Continuum fingerboard and Kyma / Pacarana system and set to work creating the voice of the blizzard.
Using Kyma and the Continuum, Lasseur was able to perform multiple layers of wind sounds to picture. They built the blizzard literally one gust, one whistle and one whisp at a time, designing the wind to complement the dialog and the picture editing in a unique way. According to Stateman, using Kyma, Lasseur was able to create an “instrument” on which he could perform the voice of the blizzard.
The first step was to create a guide track based around the dialog; then they modeled other sounds around that guide track. Stateman describes how they composed the sound design in an almost musical way:
So let’s say we have a base sound of a blizzard, we could then, very selectively, model wind wisps or rumbles or anything else against it. The Kyma would shape the other samples in time relative to the control track. Once we have them all modeled against each other we can start to pull them apart a little bit so that each element can have its own dynamic moment. It becomes more like a parade and you hear the low, the mid and the high — not on top of each other but offset from each other. The artistry comes in turning samples into instruments.
The importance of sound to Tarantino is evident in the fact that Lasseur ended up spending four months creating the instruments in Kyma and another four months performing and shaping the voice of the blizzard around the dialog and visuals.
For more insights on the sound for Hateful Eight, check out Jennifer Walden’s full article: Wyle Stateman Talks Sound Editing on ‘The Hateful Eight’