Archive for the ‘Reinhard 128 (8th octave)’ Category

Video of Runway Lights in 128 Performed on Linnstrument – Wake Forest University

Tuesday, December 29th, 2015

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Below is a video of my Linnstrument performance at Wake Forest University September 26th 2015. For Audio to download please see this blog post The video is best viewed at the highest resolution you have available.

The Linnstrument

Runway Lights in 128 [Official Wake Forest Recording]

Sunday, October 25th, 2015

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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.

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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.

Runway Lights (in 128)

Saturday, October 17th, 2015

click to enlarge

click to enlarge



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 Zoom H2 I had sitting on the table that held the Linnstrument and computer. 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.

Reinhard 128 (8th octave) Tuning on the Linnstrument

Thursday, May 28th, 2015

Admittedly this a bit of noodling but with a point. The Linnstrumennt allows for a full octave of Johnny Reinhard’s 128 (8th octave) harmonic tuning on one keyboard. I used pianoteq as the softsynth. The Linnstrumnet is set to have each column be an octave apart.

Here is the full quality video

I’ll put up the audio file later.

The tuning is in this scala file

Clouds of Angel Tears

Sunday, September 11th, 2011


Image from Katerina Art – click on image to view more work by this great graphics artist. If you follow the link you will see that she has dedicated this image to the victims of 9-11. Katerina of course owns all rights to her image and is not covered under my Creative Commons License.

I didn’t intend this – I created this piece of music on my AXiS 49 as a demonstration and many people liked it. When I feel what the music evokes in me it is a sense of sadness but diffuse and delicate sadness. Thus I choose “Clouds of Angel Tears” as the title and searched google images on that title and found Katerina’s image. I hope she doesn’t mind I have associated the two.

Technically – the piece is in Johnny Reinhard’s 8th octave harmonic series tuning. The tuning is something that Johnny has been working on and was introduced to when I met him at the 2011 Xenharmonic Praxis in West Virginia. Because of the relationships between the notes “clouds” of harmonics and harmonies evolve. Since I only have a 98 key controller I was only able to use about 2/3rds of an octave in this piece.

Chris

Here is playable audio only

More technical information. Below is an animated score video of the piece which demonstrates graphically how I approached the improvisation. The score used is called a “piano roll”. This is preferred over using a conventional staff in the animation because of the very large number of notes involved. The piece was performed on an AXiS 49 in selfless mode giving me access to 98 notes of the tuning, or roughly 2/3’s of an octave. The areas in the piano roll correspond 1:1 with areas of the AXiS 49 in selfless mode.