Ciat-lonbarde performance drafts

The Hack Job

Little more than my first real try at interfacing with the ciat-lonbarde plumbutter 2; also features mangling by the cocoquantus and a little quatrax organ too. Very light reverb.

2021 04 09 Flipped Tablas

ERD Worm through MMG & Erbe-verb into Ciat-Lonbarde Plumbutter into Cocoquantus. Also, GRONE drone and Telharmonic through many. A little more reverb and delay. A little Quatrax in there too

2021 04 18 Grampy Rabbit

The Blip Blox provides the underbelly but many others join in the fun.

2021 04 24 Instead Of

Meng Qi Wingie resonates for the Blipblox, then sent through Cocoquantus where it mingles with a very small off tock from the Plumbutter. No FX besides the Wingie.

2021 04 Chime Time

Turning the banana stand into a (de)generative distortion machine thanks to Ming Qi Wingie.

2021 05 01 Unclearing

The taunted xylophone is not heard on this track. It sits listening to a synthetic creation. Live performance.

The first layer of sound is Verbos Harmonic Oscillator through first God Box's Loose Fruit wavefolder and then Verbos Amplitude & Tone and then Make Noise's Erbe-verb into Mimeophon delay.

 The next is something that sounds a little like a xylophone. It's the Make Noise Telharmonic through a VCA, then QPAS filter, then a dual path out, including to Phonogene in broken echo mode.

Rounding out the short musical scene, the Soma Labs Enner touch synthesizer casually looped through the Ciat-Lonbarde Cocoquantus, with some tonal, textural, and CV influence from the Mocante and a Tetrax.

That poor xylophone just had to listen to this instead of being played and recorded!

2021 10 20 Taunted Xylophone

My Morning Jacket
2017-08-11
Peach Music Festival
Montage Mountain
Scranton, PA

Setlist
Victory Dance
Compound Fracture
I'm Amazed
Mahgeetah
Off the Record
track06
Lay Low
Spring (Among the Living)
State of the Art (A.E.I.O.U.)
track10 >
Blowin’ in the Wind >
Melissa
Circuital
track14
Wordless Chorus
Touch Me I'm Going to Scream Pt. 2
One Big Holiday

Thanks to Ted Gakidis for the recording - http://bt.etree.org/details.php?id=594615

Photo credit: hutchandstuff - https://www.instagram.com/p/BXrZ6r2lyaC/?hl=en

2017-08-11 Peach Music Festival - Scranton, PA

Melissa

My Morning Jacket Live at 1st Bank Center on 2017-12-30

Purple Rain

Thanks to B_Porter for the recording - https://archive.org/details/mmj2017-12-30.mk41v.flac16

Photo credit: wallyographypw - https://www.instagram.com/p/BdbTz1gDbAr/

2017-12-30 1st Bank Center - Broomfield, CO

Purple Rain - My Morning Jacket Live at 1st Bank Center - 12/30/2017

Short piano improvisation played on the Embertone Walker 1955 Concert D piano.

Old Year | New Year

Eurorack: Plaits, Disting, Morphagene
Spitfire: Hans Zimmer Strings, Studio Brass, Bernard Herrmann
Embertone Bassoon

Prospect Park

A Year

Stratus Piano-enhanced
Sub Bass
Woodwinds
Brass (with some magic twists)
Chamber String Evolutions

Take Shelter

Simple in construction, yet profound in context, How to Make a Happening is Allan Kaprow delivering 11 rules on how, and how not, to make a Happening, an movement begun by Kaprow in the late fifties that is known for its unpredictability, open scores, and constantly-evolving form.

On the first track, Kaprow speaks plainly into a microphone, delivering a private cut-to-the-chase style instruction on Happenings that is both informative and contradictory. Kaprow, known as a great teacher of the avant-garde (from Rutgers to Cal Arts to finally University of California, San Diego), delivers both a practical and theoretical how-to with an oftentimes dead-pan humor.

Allan Kaprow: How to Make a Happening Side 1

Spitfire Felt Piano
Spitfire BBC SO Vibraphone
NI Absynth
Spitfire Chamber Strings
Sonokinetic Indie
Spitfire Albion V Tundra Low Winds
Heavyocity Damage 2
Spitfire Ricotti Mallets (Marimba)
Spitfire Abbey Road Studio One - Low Brass and Strings
Spitfire Eric Whitacre Choir

One in Eight (Thinkspace Brief)

Explorations and compositions using modular synthesizers and computers.

Much of this work is from the early 2000s, composed primarily using soft synths, found sounds, and instruments around the apartment.

My more recent music is less composed and more exploratory, largely performed live on a synthesizer I call the Story Machine.

2021 10 20 Taunted Xylophone

Reality Technician

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