I just wanted to add my two cents to this thread because I was there. It was a special thing
to be a part of. I waited out front for my friend to arrive because he was running late. By
the time he got there almost everyone was in the theatre. When we got in we saw that
only the front row was available and it happened to be the best seat in the house. What an
amazing and unique show to experience.
I own a doepfer half super case, sold to me by Loren by the way, with plan b and livewire
modules peppered in. So I am a fan. Secondly, I've never seen a modular performed live
and I have always wanted too. It has always intrigued me how somebody could perform a
varied set of songs when one patch cable translate to just about 0.001 percent of the
whole. I think what was pulled off at that show was truly amazing.
I thought the inclusion of Chas Smith and Richard Devine were really the key to a well
rounded artistic statement on sound synthesis. I am of course not an analog purist and
fully welcome new digital technology, especially when it can be used to control the analog.
-Side note: I think the monome may be one of the most powerful tools when combined
with a modular. Peter, I really enjoyed your story (on Matrixsynth) regarding pulling out
the old midi files and using a mic as a speaker to sift.
Technology aside the music was truly amazing as well. Gary Chang opened it up
beautifully. I'm glad that the show started on a peacful note because I was a little worried
about the kind of power that might be coming out of those speakers. An interesting
experience to sit and focus on incredibly slow envelopes like he was using. The rising was
more beautiful then the falling.
When Chas Smith began playing the metal poles I was truly blown away. Being up front I
was actually terrorfied of the sounds that came from those babies. But again, this is why
for me it was so special.
Peter, your song is in a dead heat for favorite song with thighpaulsandras. I could tell by
your face you weren't to happy with some of the triggers. You would hit a key and cringe
with disgust. It was funny, from everyone on stage seemed almost coy and shy when it
came to bowing for the applause. I personally waited as long as I could to clap because I
was still listening to the sound decay. Chas smiths performance was a really good
example of this, I was like he bowed to soon. by the way I really appreciated the
synchronised ending.
Allesandro also seemed slightly unsure of his performance but I happen to think that his
had the best melody. It was also nice to hear the natural water sounds coming from the
Buchla.
Thighpaulsandras performance was the best in terms of live experience. He was always
moving around adjusting just about every piece of equipment that he had out there. His
peformance intrigued me the most because I really couldn't tell what he was doing when
he wasn't playing the solo parts. It was also more dramatic with his visual cues that would
go up in number.
Ending it with Richard Devine was right on. Like we are now traveling into the future and
everything you just heard is now being played on three touchpads. I have heard his stuff
on the net so I knew a little of what to expect. Hearing the sounds he made you just had
to laugh because it was like a ride. You never knew what was going to happen next,
except you knew it was going to reach a fever pitch. A true ear massage.
It was great. Thanks. And do it again.
Charlie
--- In PLAN_B_analog_blog@yahoogroups.com, amnesia <amni56@...> wrote:
>
> Go direct
>
> i hate coughs unless they are part of the track, and I especially hate
> idiots who talk!
>
> Ross
>
> (i think you can figure that out) wrote:
> >
> > Well, haven't decided what we're going to do with the audio recordings
> > as yet, but given it's more than just one person involved it'll be up
> > to some sort of discussion. First things first, I have to get that
> > recording to the rest of the guys which should happen over the long w/e.
> >
> > We have two version of the evening's performance recorded: one from
> > the desk which by and large is direct, and one from two stereo mics
> > placed up at the desk for the audience reactions and a bit of the
> > room. I need to do a mix of those, editng out the coughs and this one
> > guy who talked a few times during the performances and then mixing the
> > applause and Barry's intro in, and then it'll be sent to the group and
> > then we'll decide the best place for the archive.
> >
> > - P
> >
> > --- In PLAN_B_analog_blog@yahoogroups.com
> > <mailto:PLAN_B_analog_blog%40yahoogroups.com>, RSA <wiard300@> wrote:
> > >
> > > When can we download the recording? ;^)
> > >
> > > cheers
> > > RSA
> > >
> > > ----- Original Message ----
> > > From: (i think you can figure that out) <peter@>
> > > To: PLAN_B_analog_blog@yahoogroups.com
> > <mailto:PLAN_B_analog_blog%40yahoogroups.com>
> > > Sent: Wednesday, November 21, 2007 12:20:17 PM
> > > Subject: [PLAN_B_analog_blog] clarification on my Analoglive answers
> > >
> > >
> > >
> > >
> > >
> > >
> > >
> > >
> > >
> > >
> > >
> > >
> > >
> > > I said:
> > >
> > >
> > >
> > > From PG: Actually, all of the plyers took part in Secret Life of
> > >
> > > Semiconductors. I was doing nine voices in total, four driven from
> > >
> > > midi and
> > >
> > > five others which were variations of two different live patches. TPS
> > >
> > > ws takng
> > >
> > > one degree of the E major chord on his Serge, Alessandro had three
> > >
> > > voices - one
> > >
> > > from the EAR system and two from the Buchla 200e and Gary had yet
> > >
> > > another voice
> > >
> > > coming from the Wiard that had two vairations. So these guys coupled
> > >
> > > by my parts
> > >
> > > made the bulk of the main voice - the E maj chord.
> > >
> > >
> > >
> > > I don't want to confuse these facts and I stated them a bit unclearly.
> > >
> > > The midi parts mentioned were midi-driven live parts - What I meant
> > >
> > > by two 'live' patches is outside of the midi gates which drove the
> > >
> > > EG's, it was stand alone with no midi control of pitch or dynamics.
> > >
> > >
> > >
> > > One of these voices were fixed pitched on E with three different
> > >
> > > processes in the audio path - One straight form the two ramps (which i
> > >
> > > didn't end up using), one with the sine outs running though two
> > >
> > > Deopfer Wave multipliers, and one having the triangle outs of these
> > >
> > > two VCOs run through two Blacet Miniwaves (top left of the top row of
> > >
> > > the man cabinet set into Euro-height faceplates) which were both set
> > >
> > > to Bank 8 with stepped random via a Heisenberg to select which wave in
> > >
> > > the bank.
> > >
> > >
> > >
> > > The second non-midi-fied voice was a single VCO fattened up a bit via
> > >
> > > a Yamaha SPX90 which was underneath in the cabinet below, being
> > >
> > > controlled by Milton which had it's direction randomized by the Source
> > >
> > > Out on the Heisenberg. The Milton was picking off different degrees of
> > >
> > > the E major chord. Oroginally there were two VCOs in this patch, but
> > >
> > > I had to break one lose for the midi controlled voices (I actually
> > >
> > > added additional VCOs to the system the morning of the perfrmance for
> > >
> > > the other midi-controlled parts).
> > >
> > >
> > >
> > > All in all, it worked. Thank heavens we switched my piece to the
> > >
> > > first half...i actually enjoyed myself during intermission knowing we
> > >
> > > had pulled it off. I was a bit bummed that Richard's part was so low
> > >
> > > in the performance, but it's better in the recording. It was screaming
> > >
> > > in the last rehearsal.
> > >
> > >
> > >
> > >
> > >
> > >
> > >
> > >
> > >
> > >
> > >
> > >
> > >
> > >
> > > <!--
> > >
> > > #ygrp-mkp{
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> > > #ygrp-vital{
> > > background-color:#e0ecee;margin-bottom:20px;padding:2px 0 8px 8px;}
> > > #ygrp-vital #vithd{
> > >
> > font-size:77%;font-family:Verdana;font-weight:bold;color:#333;text-
transform:uppercase;}
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> > > #ygrp-vital ul li{
> > > list-style-type:none;clear:both;border:1px solid #e0ecee;
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> > > #ygrp-vital ul li .ct{
> > >
> > font-weight:bold;color:#ff7900;float:right;width:2em;text-align:right;padding-right:.
5em;}Show quoted textHide quoted text
> > > #ygrp-vital ul li .cat{
> > > font-weight:bold;}
> > > #ygrp-vital a{
> > > text-decoration:none;}
> > >
> > > #ygrp-vital a:hover{
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> > >
> > > #ygrp-sponsor #hd{
> > > color:#999;font-size:77%;}
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> > > padding:6px 13px;background-color:#e0ecee;margin-bottom:20px;}
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> > > .replbq{margin:4;}
> > > -->
> > >
> >
> >
>