Audio stems have been made available for potential remix. The stems currently feature as part of the studio recording, “Mecca,” due for release later this year. signalsundertests are keen to hear your interpretation.

Download the stems from the following (temporary) mediafire links;

http://www.mediafire.com/?omfxzztjrux (ambisonics)
http://www.mediafire.com/?wlgyn1kctg0 (ambisonicsdrone)
http://www.mediafire.com/?zjzgjgn1mmm (apedal)
http://www.mediafire.com/?wzqnlzii23a (bassguitar)
http://www.mediafire.com/?dhfm21iiyj4 (bstring)
http://www.mediafire.com/?nme0mnydzmz (epedal)
http://www.mediafire.com/?2hj5io0kigj (estring)
http://www.mediafire.com/?znzyglmmcjj (glitchguitar)
http://www.mediafire.com/?mydmonmz0my (gstring)
http://www.mediafire.com/?omxiyqmtnmt (guitar)
http://www.mediafire.com/?yojudy4emjj (guitarnofx)
http://www.mediafire.com/?zirljzyymnj (guitarriff)
http://www.mediafire.com/?3vzynmzytdy (mainkit)
http://www.mediafire.com/?ydlycdoujmt (reverb)
http://www.mediafire.com/?ndfqjiocjot (scratchkit)
http://www.mediafire.com/?ezjgfgnz3dn (subkit)

Please submit your initial remixes in MP3 format to info atnospam  rickygraham dot net. All remixes will be considered for a future net release. The deadline is the 31st of May, 2010.

Polyphonic Audio and MIDI box for Polyphonic Electric Guitar

The premise of this project was to build a hardware unit which provides polyphonic audio (separate audio signal for each string) as well as MIDI data (pitch and velocity) for each note executed which could be utilised for mapping purposes. Such a hardware unit would allow the user to maximize CPU power for signal processing. Following on from a previous “break-out box” project, I purchased the Axon AX-50 board from Terratec (Germany) to allow for MIDI data for each note. The tracking is excellent in combination with Graphtech’s “Hexpander” MIDI interface.

Initially, I wanted to hack the board so it supported polyphonic audio and MIDI concurrently, however, the Axon board is inherently noisy and a series of the DIN pins carry a rather unfortunate mains noise rendering the board unusable for audio. So, I devised a separate power supply (9v battery) acting as a piezo amplifier, powering the Axon unit  separately with an adapter. I devised a DIN splitter cable so that the Axon board is able to receive the audio derived from the guitar, whilst maintaining separate power sources, ergo eliminating the ground noise issue. My thanks to Jun Kwon for his assistance with installing a series of isolator transformer to improve the quality of Audio/MIDI data translation.

In separating the ground of the piezo amplifier from the Axon AX-50 board, one is presented with a different noise problem, whereby noise generated by MIDI data is present in the audio signals.  A separate MIDI interface was tested, which reduced the noise but it did not eliminate the noise altogether. To eliminate the ground noise completely, a USB isolator may be required. This project is on-going.

Mapping Strategies

The premise of this project was to reflect pitch structure in my chosen DSP during real-time performance. I built the following patch in PD (Pure Data), in an attempt to reflect pitch structure in pre-programmed signal processing during real-time performance, which can be dictated by the chosen pitches executed by the performer while maintaining an element of improvisation. The electric guitar is inherently a multi-parameter mapped instrument. For the most part, it maintains a many to one relationship, concerning many attributes of a physical instrumental technique utilised by the performer to produce a desired sonority. It is important to maintain an approach which is conceptually clear, one that maintains musical meaning versus technical mapping.

The patch collects pitches played by the performer, then generates random index via a counter. The random index is then re-called from the [coll]. In this example MIDI note 60 (C3) is mapped to an automation clip in Ableton Live. The automation clip triggers a series of signal processes specified by the user.  This example is using the built in mic on my laptop.

PD to Live - Phase 2 from Ricky Graham on Vimeo.

“Killing your Darling”

After some discussion, there is further potential to develop the patch into a more modular, versatile, and interactive performance system, which may allow the patch to operate with a greater degree of independence, encouraging the performer to engage with the system via a new performance approach, versus a learned or repetitive performance practice. I intend to develop the patch to further accommodate statistical analysis of pitch class development and additional string information, such as velocity, and note onset and offset. Thus, temporal phrasing will become an interactive part of the mapping and performance process. Other approaches include the utilisation of pick position data to trigger appropriate timbral processing, resizing the [coll] size in real-time to vary the rate at which a signal process is triggered, and the real-time drawing of automation values.

My thanks to Daniel Schorno for his feedback on this project.

Performance in Antwerp

This was a great opportunity to improvise with themes I have been developing for the forthcoming album by signalsundertests. I scored some motives to work with during the performance, but I am still developing an appropriate method of scoring pitch, timbral, and spatial attributes of each theme. I would like to work with a stave per string in future, and it is my hope that the score will also be applicable to acoustic instrumentation. All in all, an excellent experience.

signalsundertests performing at the Live Looping festival at Arenberg, Antwerp.

Thank you to those who provided photography on the night, including Ingrid, Sjugge, and Benjamin. My thanks to Sjaak and Ingrid for their hospitality, and to the amazing musicians which were a part of this wonderful event. And of course, thank you to all the staff at STEIM for their support. It was a very productive and enjoyable residency.

5 Jul 2007 12:00
Kaetsu Music Festival, Tokyo

9 Jul 2007 20:00
Kaetsu University Seminar, Tokyo
Big thanks to Simon “Sensei” Clay at Kaetsu University for the invitation to perform at such a receptive University.

9 Jul 2007 21:00
Rock Factory, Tokyo (Roppongi)
Performance time - Approx 15 minutes
Music - “1314″ & Improv
Audience - 20+, very receptive. Local music moguls were thoroughly impressed. Jammed with Tokyo based Hip-hop artist, Dave Whitaker.

10 Jul 2007 19:00
The Pink Cow, Tokyo (Shibuya) - Workshop
Performance time - Approx 50 minutes
Music - “1314,” Improv, & “Decadence”
Audience - Very receptive. I networked with some very enthusiastic Musicians from Tokyo and Fuji. Traded music and contact information etc.

10 Jul 2007 20:45
Cosmo’s, Tokyo (Shibuya)
Performance time - Approx 60 minutes
Music - “1314,” Improv, “Absolution,” “Music Box,” “The Sky Above,” & “Decadence”
Audience - Mainly those who followed on from the previous workshop. An intimate atmosphere and a very receptive crowd.

10 Jul 2007 22:00 *
Ruby Room, Tokyo (Shibuya)
Performance time - Approx 15 minutes
Music - “1314,” & Improv
Audience - 50+, very receptive crowd and a very intimate setting. Perhaps the best performance of the tour.

11 Jul 2007 21:00
Ruby Room, Tokyo (Shibuya)
Performance time - Approx 20 minutes
Music - “Absolution,” “1314,” & Improv
Audience - 30+, mainly Japanese & American. Networked with A&R at KR-International, CD Lunch, and other Tokyo based music representatives with ties at Sony BMG, Tokyo.

I fell asleep around 5am in a Punk bar, during which time Ross and Duncan covered me in ice cubes. Cheers lads. I believe my name is also written on the wall of the bar along with some other visiting Musicians. Ross had also written his name underneath in what would appear to be morse code. Thanks to the bar staff for playing old school Metallica all night. A nostalgic night was had.

12th Jul 2007 21:00
Cosmo’s, Tokyo (Shibuya)
Performance time - Approx 30 minutes
Music - “Absolution”, “1314,” & Improv feat. Dave Whitaker.
Audience - 20+, intimate crowd, very receptive, & thoroughly enjoyable.

I later got up to jam with three Jazz musicians, two of which were from Tokyo (Guitar & bass) and the other from London (Saxophone.) We jammed for about an hour or so. This gig was a great way to end a successful tour.

Thanks to Dave and Meg at KR-International for organising a great induction tour of Japan. I’m looking forward to working with you both and the label in 2008. Thanks to Ross (as always) for being himself and his amazing host family, Koido, for looking after us. Thanks to everyone who I met at Wakeijuku. Thanks to all those who I met up with while I was in Japan, especially Duncan, Dave Whitaker, Hide, Megumi, Claire, Nosomi (Mimi), Anna, Maria, Simon, and Toma and the lads.

Mata ne,

Ricky

“Rain Down Fire” has been released on Japanese Record Label, CD Lunch. It includes 4 studio tracks and 1 live track courtesy of Steven McCauley at BBC Radio Foyle, Northern Ireland.

Artwork by David Wilson. David is currently a London based designer working for BBC Audio & Music Interactive. Recently, David has been working on the new blog design for Adam and Joe show on 6music. David is also my cousin.

“Rain Down Fire” is available to purchase from iTunes, Amazon, & eMusic