SAE Milan offers free Kyma workshop

Award-winning sound designer Matteo Milani will lead a 2 hour introductory workshop on the Kyma sound design language in the great hall of SAE Milan on Thursday, 21 February at 18:30.  According to the workshop description:

Kyma is an open, real-time-controllable environment for the creation, modification, and combination of new sounds in ways that are totally different from a sequencer or digital audio workstation.  Matteo Milani will conduct you on an exploration of the innumerable possibilities offered by the system with which it’s possible to create your own patches or Sounds.  A Sound can be a simple audio file playback or reverb, but it can also be a complex combination of audio generators and modifiers, synthesis, re-synthesis, sampling recombined in infinite variety, modulating their parameters and entering into a dialog with one another.  By means of the Timeline it’s possible to compose the sound, assembling individual Sounds into larger structures, drawing functions to control the way parameters evolve over time.

Kyma is therefore a language for the generation and transformation of complex sounds with which it is possible to create your own plug-in, virtual synth, performance environment, interactive sound sculptures, each one with its own virtual control surface for the management of parameters in real time by means of the MIDI or OSC protocol.

Workshop instructor Matteo Milani is both a sound designer and an advocate for the sound design profession as a whole.  An active sound designer and recordist for film, advertising and mastering, he also writes for several popular audio magazines, and his blog Unidentified Sound Object has generated an international following.  Milani also composes music and experimental soundscapes for multimedia installations and live events as well as producing and distributing his own sound effects libraries. The workshop will be presented in Italian (Milani can also answer questions afterward in English).

The workshop is free, but spaces are limited.  Please register in advance to reserve your place by sending email to SAE with “Seminario Kyma” in the subject line.  SAE urges you to register as soon as possible as space is limited!

Matteo Milani: sound designer for Genesis Project

What if it were computers who invented humans (and not the other way around?)  In director Alessio Fava’s new film Genesis Project: the real story of creation, it seems an almost plausible and decidedly amusing hypothesis.  Sound designer Matteo Milani put his Kyma sound design workstation to good use generating the ambiences.  Highly entertaining for all computer users (or is it the other way around?), Genesis Project begs the question, “But what if humans develop self-awareness?”  Be sure to check out the Human User Manual on the official Genesis Project site.

Voice as Controller: Music of Andrea Young

Andrea Young will be performing her newest compositions for voice and Kyma at CalArts California Institute of the Arts, 8 pm, February 13, 2013, as part of a presentation of her research into vocal feature extraction and its application to controlling live electronics in Kyma. The concert begins with a work for solo voice that exemplifies the parametic counterpoint singing techniques used to feed the unruly algorithms presented in the following works. Noise and oscillators are controlled by the voice, while contact mics and miniature mics make use of the differentiation between signals as yet another source of sound and musical data control.

The concert will also be streamed live via the ROD Webcast.

Effects of pitch-shifting on stuttering

 

Torrey Loucks, professor of Speech and Hearing Science & researcher with Beckman Institute’s Cognitive Neuroscience group & Illinois International Stuttering Research Program

When you listen over headphones to your own voice through a pitch-shifter, do you find yourself mimicking the pitch shift? Or do you automatically counter the pitch shift by shifting in the opposite direction?  According to speech and hearing science professor Torrey Loucks, most people compensate by shifting in the opposite direction to correct the deviation. But there is another group who follow the pitch changes.  We don’t yet understand why these individual differences in auditory vocal responses occur.

In a recently published study, Professor Loucks and his graduate students HeeCheong Chon and Woojae Han at the University of Illinois in the department of Speech and Hearing Science utilized Kyma for real-time pitch shifting in an experiment that attempts to increase understanding of the neural mechanisms underlying stuttering.

In this study, a group of adults who stutter and typically fluent adults were asked to produce the same vowel sound while monitoring their own voices through headphones.  Kyma was used to shift the pitch of the subject’s voice up or down by as much as 200 cents (2 half-steps) for a duration of 500 ms.

In most cases, the participants adapted by lowering or raising the pitch of their voices to counter (rather than mirror) the pitch-shift imposed by Kyma. In the stuttering participants, the adaptive response to the pitch-shift was significantly delayed as compared to the responses of non-stutterers. The stuttering participants also tended to have a lower magnitude of pitch shift responses.

In their report, “Audiovocal integration in adults who stutter” recently published in the International Journal of Language & Communication Disorders, the authors analyze and discuss some of the implications of this result.

One theoretical prediction is that persons who stutter rely more strongly on auditory feedback to produce speech, whereas typically fluent speakers use a more robust internal predictive model of the expected result and are less reliant on audio feedback. On the other hand, there are also studies suggesting that persons who stutter tend to have slower auditory reaction times and are less adept at pitch tracking than typically fluent speakers. Loucks et al conclude that, although their results “do not negate arguments that adults who stutter are more dependent on feedback, their dependence is not expressed through a more reactive pitch-shift response”.

In an article describing his research with the Beckman Institute’s Cognitive Science group, Professor Loucks explains some of the wide-ranging implications of research on stuttering:

Stuttering is very interesting because it appears to occur at the junction point between formulating what you want to say and actually being able to express it.

He also corrects some outdated preconceptions on the phenomenon of stuttering:

There are no predisposing events that make a person stutter that could be prevented either by being a better parent or being a different sort of child. No one is to blame for the occurrence of stuttering because it is a biological disorder.

Nonetheless, the stigma of stuttering can be reduced considerably by realizing that we need to accept communication disorders as occurring in the population. There’s nothing negative about having a communication disorder and people should know that stuttering does not affect a person’s ability to learn, to succeed academically, all of those things. It has nothing to do with intelligence and should not be in any way a barrier to a person realizing their full potential. It is a neurobiological disorder that no one could prevent, but which we can find better ways to treat and possibly cure in the future.

Professor Loucks on University of Illinois campus

 

 

New Year’s Day with JPJ

On 1 January 2013, Fiona Talkington celebrates the New Year on BBC Radio 3 with special guest, multi-instrumentalist and Led Zeppelin bassist John Paul Jones performing live in the BBC’s Maida Vale studios. On this special New Year’s installment of Talkington’s Late Junction, Jones plays acoustic piano, lap steel ukulele, and Kyma-processed electric mandolin and lap steel guitar.  The show will air Tuesday, 1 January 2013 at 23:00 on BBC Radio 3 (after which it will be archived on the website for one week).  Happy New Year!

 

John Paul Jones and the POTUS

John Paul Jones, composer/performer/producer and one of the earliest Kyma-adopters, was awarded a Kennedy Center Honor for his work with Led Zeppelin on December 2, 2012.  The award, for exemplary lifetime achievement in the performing arts, was presented by President Barack Obama who said of the seven honorees (and of all artists):

…each of us can remember a moment when the people on this stage touched our lives. Maybe they didn’t lead us to become performers ourselves. But maybe they inspired us to see things in a new way, to hear things differently, to discover something within us or to appreciate how much beauty there is in the world.

They didn’t just take up their crafts to make a living, they did it because they couldn’t imagine living in any other way…

Sonic Screens Milan

U.S.O. Project (Matteo Milani, Federico Placidi), in collaboration with O’ and Die Schachtel, present Sonic Screens, a concert of live electro-acoustic music on Saturday, December 1st at 8:00 pm.  Featuring premieres of two live Kyma pieces— Two Sound Pieces with Repertoire String Music by Agostino Di Scipio and Time Capsule by Federico Placidi.

Featuring sound spatialization, live interaction between electronics and performers, and including the venue itself as part of the interaction, the event will take place at O’ on Via Pastrengo 12 in Milan, Italy (5 €), with Matteo Milani as sound director. O’ is a non-profit organization that promotes various languages of art ​​through exhibitions, lectures, concerts, labs, performances and publications.

 

The Book of Sarth

Is it a graphic novel? A concept album? An animation? An App? A book?

The Book of Sarth is all of these things plus a narrative about an ear worm that is, itself, an ear worm! The Book of Sarth is the first example of an entirely new art form for the early 21st century.  The initial offering of the Gralbum Collective, a self-described group of musicians, artists, and programmers working to establish new forms for creative expression, The Book of Sarth is available now in the App Store and has to be experienced, more than described, but an attempt at a verbal description follows:

Imagine discovering an ornate leather-bound book abandoned in an attic; when you pick it up, a voice says “Open the Book”.  Cradling the iPad in your lap like an old tome, flipping through parchment pages with colorful watercolors, it really does feel as if you’ve discovered a magical story book, one where the drawings come alive and music fills the stereo field (headphone listening is strongly recommended for the experimental, Kyma-drenched score by Sarth Calhoun).

Like the tracks on the album, the animated paintings come in “chapters”, each having its own style and character: the storybook water colors of “Discovery”, the ink-on-glass Japanese photo/drawing colorized loops of “Transmission”, the stark black and white ink images of Occupy-like mass protests for “Awakening”, psychedelic pattern loops for “Access”, symbolic poker-hands and other cryptic numbers (4 X 7), beautiful iridescent ghostly animations on black-inked stark background images of the police state, and so on, concluding with an Epilogue of beautiful geometric patterns, sometimes occluded by human silhouettes.

Born into an angular world with no color, two children discover a sound-generating device that enraptures the world, introducing color, movement and shapes; the epilogue hints at ancient technologies that were known to resonate with sounds of a healing nature and reveal hidden order and patterns.  The rest of the narrative is a struggle between the black-and-white (or “the brown and grey”) police state who shut down the transmissions, and the rioting crowds who learn to make their own underground sound-generating devices.

The musical narrative can accompany the visual or not and is an uncompromisingly experimental mix of vocoding, heavily processed poetry, ear-worm inducing loops, exquisitely glitchy electronics, and Euclidean rhythms.  It ends, not with an ecstatic out-of-body experience, but with a warning: “the black days are coming.”

 

Jeff Stolet & Chi Wang open for Musicacoustica-Beijing Festival

Chi Wang at opening ceremony of Musicacoustica-Beijing (Xinhua/Luo Xiaoguang)

Two live electronic pieces for Kyma and game controllers were selected to be a part of the opening ceremonies for this year’s Musicacoustica Beijing festival on October 22, 2012: Chi Wang’s Sound Motion for Kyma and Kinect and Jeffrey Stolet’s Lariat Rituals for and Kyma and Gametrak controller.

Wang Chi’s Sound Motion is a multichannel interactive composition that utilizes Processing to analyze data captured from the user’s movement in space; that data stream is then used to control recorded, synthesized, and modified sound in Kyma.

In Jeffrey Stolet’s Lariat Rituals, fine positioning of the Gametrak in 3-space controls formants and other parameters of a synthesized male voice (as seen in this video).

Following the festival Stolet and Wang spent two weeks presenting seminars and lectures on Kyma at conservatories throughout China.

Jeffrey Stolet performs Lariat Rituals at KISS2012 in St Cloud MN

 

Charging into the abyss

John Paul Jones is once more joining forces with Supersilent, this time for a whirlwind tour of the UK, demonstrating yet again that “the prolific multi-instrumentalist finds bigger thrills in charging into the abyss than reclining into the rock stardom he achieved decades ago” according to Dave Kerr in a recent feature article for The Skinny.

Supersilent have only one rule: no rehearsals!  And according to the Village Underground, on this tour, “they intend to push each other further, harder, wilder and freer into uncharted sonic zones.”

NOVEMBER:
14th – Birmingham, Town Hall | www.thsh.co.uk
15th – Glasgow, The Arches | www.thearches.co.uk
16th – Manchester, RNCM | rncm.ac.uk
17th – Bristol, Arnolfini | arnolfini.org.uk
18th – London, Village Underground | villageunderground.co.uk

Jones, as well as Supersilent members Helge Sten, Ståle Storløkken, and Arve Henriksen, each utilize Kyma in their live, improvised electronics performances.