Archive for the ‘collaboration’ Category

Ambient by guest artist Greg Hooper

Thursday, October 16th, 2014

Greg Hooper used an MP3 recording of my aeolian harp. He performed some manipulations, arranged and produced them resulting in the above composition.

Greg describes his composition: (it) starts off an octave down and then I add in a third, fourth, tonic, third fifth sixth and major seventh – all transposed using sample rate changes rather than pitch shifting, so each version is a different length according to the ratio of the pitch.

We hope you enjoy it!

Greg and Chris

Lost to the Mist of Time – Barton & Vaisvil in 17 edo – video performance

Sunday, September 21st, 2014

Jacob Barton (AXiS49 piano) and Chris Vaisvil (17 edo guitar with effects)

a cup of time (harmonic series / just intonation)

Saturday, August 30th, 2014
graphic by William Victor Newbold

graphic by William Victor Newbold

a cup of time is a derivative work of 4 compositions by William Victor Newbold. I sampled the four pieces listed below and applied harmonic filtering and also pitch adjusted the filtering to be in the form of a just minor-minor seventh chord (1/1, 6/5, 3/2, 7/4) – effects were applied in the Sonar X3 mixing process. You can hear the originals at this location.

non-buzzed-effectual-contextations-of-dimensions-2a-a020
outside-part-6
buzzy-a020-hows-edits-one-1
beyond-the-outside-levels-of-time-1

Lullaby for Refugee Children

Friday, August 29th, 2014

(Syria_1,_Emergencies_6)_(9362333059)

Lullaby for Refugee Children by Christiane Offenbar (vocals) and Chris Vaisvil (EP 73).

Straight From the Box

Saturday, August 23rd, 2014

016a

Straight From the Box is a piece built around the provided lyrics of Evan Harrington. It was performed in 1986 on a Casio CZ-101 using two cassette decks and a 4 mono channel mixer. (see schematic below). With this method you simply had to live with what happened in the past, so a lot of practice took place to get to even this amount of finish on the production which could be loads better. On the other hand it did force a certain amount of discipline in the form of practice and ingenuity to circumvent or hide what you know you couldn’t perform better. There was a way to “tune” the cassette decks by adjusting the motor speed so that one could transfer a cassette from one deck to the other to avoid a layer of tape noise which built up quickly. Considering really good brands of cassette decks can be found at Goodwill it is possible to do this for very little money. I have been told, but never tried, that VHS tape has even high fidelity for this method. Again, those can be found for very little money at second hand shops.

cassette deck A => L/R ==> cassette deck B
new performance => L/R =^

A word about the lyrics. Evan Harrington was one of my very best friends and provided me with much material for setting to music. Evan has passed on and is greatly missed. He was and still is a constant inspiration.

Igstruded 15 edo guitar, drums, piano collaboration

Sunday, August 17th, 2014

P1080506a

Igstruded is a collaboration of Igliashon Jones and myself in 15 edo – Igs composed the guitar and drums to go along with my “Extruded” 15 edo piano.

The Walrus and The Carpenter from Bethan Reads (in 20edo)

Thursday, July 24th, 2014

Briny Beach Briny Beach

The Walrus and The Carpenter
Lewis Carroll as read by Bethan Mathis and set to music (two 20 edo guitar tracks with effects) by me.
(from Through the Looking-Glass and What Alice Found There, 1872)

The sun was shining on the sea,
Shining with all his might:
He did his very best to make
The billows smooth and bright–
And this was odd, because it was
The middle of the night.

The moon was shining sulkily,
Because she thought the sun
Had got no business to be there
After the day was done–
“It’s very rude of him,” she said,
“To come and spoil the fun!”

The sea was wet as wet could be,
The sands were dry as dry.
You could not see a cloud, because
No cloud was in the sky:
No birds were flying overhead–
There were no birds to fly.

The Walrus and the Carpenter
Were walking close at hand;
They wept like anything to see
Such quantities of sand:
“If this were only cleared away,”
They said, “it would be grand!”

“If seven maids with seven mops
Swept it for half a year.
Do you suppose,” the Walrus said,
“That they could get it clear?”
“I doubt it,” said the Carpenter,
And shed a bitter tear.

“O Oysters, come and walk with us!”
The Walrus did beseech.
“A pleasant walk, a pleasant talk,
Along the briny beach:
We cannot do with more than four,
To give a hand to each.”

The eldest Oyster looked at him,
But never a word he said:
The eldest Oyster winked his eye,
And shook his heavy head–
Meaning to say he did not choose
To leave the oyster-bed.

But four young Oysters hurried up,
All eager for the treat:
Their coats were brushed, their faces washed,
Their shoes were clean and neat–
And this was odd, because, you know,
They hadn’t any feet.

Four other Oysters followed them,
And yet another four;
And thick and fast they came at last,
And more, and more, and more–
All hopping through the frothy waves,
And scrambling to the shore.

The Walrus and the Carpenter
Walked on a mile or so,
And then they rested on a rock
Conveniently low:
And all the little Oysters stood
And waited in a row.

“The time has come,” the Walrus said,
“To talk of many things:
Of shoes–and ships–and sealing-wax–
Of cabbages–and kings–
And why the sea is boiling hot–
And whether pigs have wings.”

“But wait a bit,” the Oysters cried,
“Before we have our chat;
For some of us are out of breath,
And all of us are fat!”
“No hurry!” said the Carpenter.
They thanked him much for that.

“A loaf of bread,” the Walrus said,
“Is what we chiefly need:
Pepper and vinegar besides
Are very good indeed–
Now if you’re ready, Oysters dear,
We can begin to feed.”

“But not on us!” the Oysters cried,
Turning a little blue.
“After such kindness, that would be
A dismal thing to do!”
“The night is fine,” the Walrus said.
“Do you admire the view?

“It was so kind of you to come!
And you are very nice!”
The Carpenter said nothing but
“Cut us another slice:
I wish you were not quite so deaf–
I’ve had to ask you twice!”

“It seems a shame,” the Walrus said,
“To play them such a trick,
After we’ve brought them out so far,
And made them trot so quick!”
The Carpenter said nothing but
“The butter’s spread too thick!”

“I weep for you,” the Walrus said:
“I deeply sympathize.”
With sobs and tears he sorted out
Those of the largest size,
Holding his pocket-handkerchief
Before his streaming eyes.

“O Oysters,” said the Carpenter,
“You’ve had a pleasant run!
Shall we be trotting home again?’
But answer came there none–
And this was scarcely odd, because
They’d eaten every one.

My Head is a Mirror (ambient, unknown tuning)

Friday, July 18th, 2014

IMG_2299-512 Image by Chris Vaisvil

My Head is a Mirror is an ambient soundscape piece created by manipulation of Mirroring by Carla Patterson and head of T by Bill Newbold. You can hear the originals at Sound-in.org

Uncle Sam March (marching band in hemifamity 27 tuning)

Friday, July 4th, 2014

click to enlarge

click to enlarge


Uncle Sam March is a directed semi-aleatoric composition that used 15 tracks from members of www.sound-in.org. It was produced by extracting polyphonic midi from the audio tracks in Sonar X3. The resulting midi tracks midi were quantized, time stretched or compressed as needed and in some cases offset from 0. Though the graphic shows a BPM of 60 it was changed to 90 BPM in what you hear. It was realized using Sonar X3 and Garritan Concert and Marching Band. The tuning employed was devised by Gene Ward Smith and is outlined below:

! hemifamity27.scl
!
(3/2)^9 * (10/9)^3 hemifamity tempered
27
!
24.81614
110.21232
180.72536
205.92493
230.32672
291.35517
316.19234
386.89900
411.35967
472.47399
496.93387
522.04780
592.41413
607.58587
677.95220
703.06613
727.52601
788.64033
813.10100
883.80766
908.64483
969.67328
994.07507
1019.27464
1089.78768
1175.18386
1200.0000

Tarantella

Saturday, June 28th, 2014

christiane_n

Tarantella

  • She was pretty, she was lonely,
    she had been sitting under trees,
    when a spider, hairy spider,
    found its way up to her knees.

    Big, black spider, hairy devil,
    bit her once and sucked her blood,
    so she trembled and she shivered
    and she screamed and bit the mud.

    Comes the sorcerer, brings his music,
    plays it softly first, then loud,
    plays a trumpet, plays a tambourine,
    tries to get the demon out.

    The girl she’s leaping, screaming, pleading,
    convulsions infuriate her frame.
    Sweaty beads on her purple forehead,
    her breathing heavy, full of shame.

    Music’s raging, raving, scaling,
    limbs are shaking on and on,
    nighttime’s falling, light is fading,
    still the magic’s not yet done.

    Thirteen hours he was playing,
    thirteen hours she did dance,
    when at last the curse, it left her.
    Tarantism’s toughest stance.

  • Kat Diestel (Poem)
    Christiane Offenbar (Vocals and Photograph)
    I play two tracks of electric 12 string in 12 edo – please forgive the little bit of noise here and there. it was unavoidable.
    download the music