Archive for the ‘advant garde’ Category

37 is an Odd Number

Wednesday, June 8th, 2016

S0832835crop Picture by Chris Vaisvil

37 is an Odd Number is a single pass improvisation in 37 edo using absynth, Diva and pianoteq performed on a Linnstrument. Approximately 3.5 fully chromatic octaves of this tuning fit on the Linnstrument.

Comet Siding Spring (15 edo)

Saturday, April 2nd, 2016

Comet_SS_from_Mars Comet Siding Spring as seen from Mars

Comet Siding Spring in 15 edo for piano and electronics performed on the Linnstrument with the new arbitrary note per row setting.

Drilling on Ceres (17 edo soundscape)

Friday, January 29th, 2016


Drilling on Ceres – building star ships by mining asteroids – a soundscape in 17 edo using Aalto and the Linnstrument.

Deep Time 1 (19 edo electronic)

Sunday, January 24th, 2016


Deep Time 1 is the first in a series of a planned song cycle based on this theme. This piece uses a ribbon controller to control Aalto and Linnstrument to control Absynth.

Insect in Amber (19 edo)

Saturday, January 23rd, 2016

1280px-Ambre_Dominique_Moustique By Didier Desouens – Own work, CC BY-SA 4.0, $3

Insect in Amber is a 19 edo piece using Absynth and the Linnstrument controller.

Spectral Greetings

Tuesday, January 19th, 2016

20160119_Capture “Score” Click into to enlarge.

20160119_table Just Intonation frequencies = ratios 1/1 is C, notes used highlighted. Click into to enlarge.

Spectral Greetings is a piece that started as a Linnstrument improvisation and then was harmonically filtered with Paul’s Extreme Stretch at the above frequencies to create a justly tuned spectral piece when all four frequencies were combined. The score is represented by the sound spectrum.

Smuggled to Lesbos – 12 edo

Friday, December 18th, 2015


Smuggled to Lesbos – this was a captured performance using Soniccouture’s Box of Tricks, Kontakt 5, Sonar Platinum and an Alesis Q88. This has a very wide dynamic range.

Wendelstein 7-X an impression for processed sound, brass and percussion in adaptive just intonation

Friday, December 11th, 2015

CV3cFSjUEAAQJUb.jpg large

“Wendelstein 7-X” an impression for processed sound, brass and percussion in adaptive just intonation is a piece inspired by the first successful test of a large scale stellarator fusion reactor. Click on the graphic for more information. NOTE: this piece has a wide dynamic range

Disclaimer (10 edo)

Friday, November 6th, 2015


Disclaimer is a piece for piano, string orchestra and synthesizer in 10 notes per octave that is a bit strident.

Runway Lights in 128 [Official Wake Forest Recording]

Sunday, October 25th, 2015



Runway Lights in 128 [the official Wake Forest University Recording]

It took some effort to get the official audio recorded by the Wake Forest Brindle Recital Hall staff. The Recording is significantly clearer and more dynamic than the recording made with my Zoom H2. I did cut a few seconds of dead air from the start so this starts a bit quicker. I’ve copied the liner notes since they are essentially the same as the Zoom H2 post.


Runway Lights (in 128) was the solo I performed at Wake Forest University in Winston-Salem North Carolina on the 26th of September 2015. The recording you hear is from the university mics. The title is actually a misnomer – a mistake on my part created when Johnny Reinhard needed the title for the program and I gave him the title of a piece that was in Blue JI instead the piece in 128 which I intended. My bad, but then the 128 piece didn’t have a proper title.

The picture you see above is the light layout I used to perform the solo in. Striking is the fact that the lights to not fill up the Linnstrument (the pads between lit notes are active). This is because I have the device in “no overlap” mode and what you see are all 128 possible midi notes in a 200 pad form factor. While it may look constraining it is much better format than I have had before for 128 since a full octave of notes are available. The timbre of the solo was in form was a progression where I started with pianoteq and added and subtracted other samplers and synthesizers. The brief pauses are where I made changes during the performance to both the sound generators and Linnstrument. The pitch content of the performance followed an outline I had developed in the days before the performance and takes advantage of the Linnstrument’s ability to send midi data out in a “channel per note” to the synthesizers in omni mode allowing me to hold notes and slide others at the same time.

The software used was Windows 7, Sonar X3, Pianoteq 5, Kontakt 5 (factory library), and Z3TA+ 2.1 (two instances) on a 3 core AMD cpu laptop. I didn’t midi record since in the past I had a nasty experience where my laptop crashed while trying to record midi.

I would like to thank Johnny Reinhard, Director of the American Festival of Microtonal Music, and Aaron Matthew Bachelder for arranging our three nights of performances in Winston-Salem NC.