A couple of photos of you, which show Matthew testing out the styharp during the soundcheck and a picture from the show:

After a quick stop back in Scotland, where I spent the day working on the Man High Mixer project that you can read about over on the Lucky Frame website, I headed off to Japan with the band for two shows in Tokyo. It was an incredible trip (despite the giant typhoon that hit the day we arrived). The crowds were great, the staff at Liquid Room was brilliant, and the food was delicious.
We have a few more gigs scheduled, and more are being booked all of the time. For the moment it looks like the next three gigs will be:
17 November, Berlin
18 November, Eindhoven (STRP Festival)
25 November, Brussels

And there are more to come!

The Independent recently published an article about the album, read it here to learn all about the concept and motivation behind it all.

I’m extremely excited to now be a part of the live show for this album. Over the next few months I’ll be touring with Matthew as part of a five-piece band, playing a brand new controller/instrument built especially for the show – the StyHarp!

As the name suggests, the StyHarp is designed to mimic a pig sty, and is used in the show to trigger, control, and effect sounds in real time by pulling, plucking, and twisting the strings. It’s a very physical thing to play, which is part of the fun. I don’t have any great video footage of it in action, so you’ll have to make do with this hilarious video of me jamming with the band during rehearsals:

Our first show is this Friday September 2nd in London, at the Royal Opera House as part of the Deloitte Ignite Festival. As of this writing there are about 30 tickets remaining, so if you’d like to come you should book quickly! Otherwise we’ll be playing shows in the following weeks and months in Bolzano Italy, Tokyo, Eindhoven, Brussels, possibly Germany and Poland, and maybe more. I will post when I get more details, of course.

If you’re interested in the background and building of the StyHarp, keep on reading! Some technical details ahead…

When Matthew and I first started thinking about what we wanted to make for his show, we were certain that we wanted something physical, something with resistance and response, something that looked strange, perhaps even frightening, and evoked the themes present in the One Pig album. We wanted to be able to have direct control over sound, but also wanted something with a life of its own. The musicality and the theatrics had to be on equal footing. All of these things led me to want to make something with strings, something big and something that would take effort to play.

The main component of the StyHarp is the string sensors, which are ripped from Gametrak controllers. These gadgets are a sort of proto-Kinect, designed for PCs and game consoles. They were marketed as 3D motion trackers, and packaged mostly with golf games (with comical miniature golf clubs) and sold only in the UK from 2000-2006 or so. To use a Gametrak the player wears a pair of gloves which are connected to a base station with some wire (which looks suspiciously like orange fishing line). Inside the base station these two lines each go into a spool, which is connected by a few gears to a standard potentiometer. The potentiometer thus turns as the wire is pulled in and out. The wire is also fed through an X-Y joystick-style potentiometer. The result is that the distance and location relative to the base station can be tracked with startling accuracy, all using technology that has been around for over a hundred years. Pretty great, huh? It’s a wonder no one thought of designing a controller like this for the Atari or the Binatone TV Master.

Many thanks to Jung In Jung and Martin Parker for introducing me to the Gametrak and for helping me track down a few extra for this project!

So the design we settled on for the StyHarp called for 12 Gametrak strings (four per side, three sides), thus six Gametraks. Each Gametrak has a USB output, but it turns out that only the XBox and PC versions of the Gametrak can be used as a HI Device (and the XBox version requires a little hacking even to do that), so it quickly became apparent that I would not be able to just plug them all into my computer. However, Jon (aka Lucky Frame partner in crime) suggested I tap into the outputs directly from the potentiometers, and plug them into an Arduino, thus bypassing the Gametrak’s USB circuitry altogether. That worked great! However….each Gametrak has six parameters (x, y, and distance for each), which means I needed 36 analog inputs, and the Arduino only supports 6. Even the Arduino Mega only supports 16! So I decided to use the Arduino Mux Shield from Mayhew Labs. This lets me have up to 48 analog inputs, which are multiplexed through the digital pins in some way that I don’t understand.

During the early stages of development (i.e., three weeks ago) I was planning on using the Gametraks in a fairly un-hacked form. This was because the models that I had bought did not seem all that conducive to hacking – the gearing was more or less separated from the wire spools, and it seemed like a headache. Some people have done it (including this guy, who used it to build a Gametrak-based Ondes Martenot), but it didn’t seem worth it to me. However, I ended up finding a few later model Gametraks, apparently released in 2006, which use a slightly different construction which lends itself to hacking – in fact, the whole reel, gearing, and potentiometer setup is tightly packaged into individual and completely separate little boxes! It’s amazing. So I found a bunch of these and ripped them apart, and I had all the sensors I needed. I was even able to hack out the little connector wires that they use. If this interests you, be sure to find the ones that have rounded ends like this.

To connect everything to the Arduino I’m using 1/4″ stereo jack cables. This is partially because I had a loom kicking about my studio, but also because it is an affordable and robust connector, and venues are generally guaranteed to have a bunch of them just in case. I therefore attached two female connectors to each set of wires which connect to the Gametrak sensors, and I built a patchbay box for my Arduino.

On the software end, the Arduino is communicating through USB using a serial data system built by Jon in Processing. This is much more robust than the software provided by Mayhew Labs, which kept on crashing because of the load of data coming through…Jon implemented a brilliant call-response system which eliminated all crashing. Go go Lucky Frame! So Jon’s utility is sending all the data via OSC into Max/MSP, where I’ve built a flexible patch for sending MIDI notes and controls to Ableton Live, where all of the sound processing and triggering is going on. The sounds are all original recordings from the One Pig album, and they are triggered by pulling or plucking the strings. Twisting and pulling the strings then control other effects like delays, filters, and so on.

The Gametraks are all connected to stands using plumbing fixtures, and the strings are pulled out to connect across and create the fence. I’ll be inside the sty for much of the show, playing the strings, and I’ll be joined at one point by the rest of the band…but I won’t give away the ending.

It’s loads of fun to play, and I’m really looking forward to the shows. Come by if you can, and as usual get in touch if you have any questions.

Photo by Colin Chipcase

A few weeks ago I had some involvement in a residency at Dance Base in Edinburgh with dancer and choreographer Skye Reynolds. She has been collaborating for a long time with sound designer Jung In Jung (whose awesome work includes the SonicBella) in order to develop performances and systems that use different types of technology to allow dancers to generate and control sound and music in real time through their movements.

For this residency I helped Skye and Jung In start using Wiimotes strapped to the dancers’ limbs, much in the same way I did for Exercise Magic!!. Jung In was then able to use some the data to trigger sounds developed by herself and composer Pippa Murphy.

During my short involvement in the residency I worked with one of the dancers, David Aing, to make a special performance tailored to his crazy amazing robot breakdance routine. I made a set of custom software to let him control two different types of synthesizers, as well as a pulsing drum machine. I was super happy with how it turned out, I felt it really matched his style. We got to show this at a (very well attended) presentation at the end of the residency. Check out the video!

Thanks to everyone who came by! I thought the whole thing went really well. If all goes well I hope to work with David and Skye more in the future to develop the work a bit further.

Jung In has many more pictures and videos of the other performances from that presentation up on her blog, in addition to loads of information about the development of the whole project.

The Weather Gage will be comprised of a series of small propellors mounted on the pier which will turn in the wind. The speed of the wind will control the playing of a series of little glockenspiel notes hanging in one of the alcoves on the pier. The press release at northern bloc describes it much better than I do:

This installation harnesses the power of the wind to play a glockenspiel. A form of digital Aeolian harp, small propellors will generate tiny amounts of electricity, which will activate glockenspiel notes, creating polyphonic and polyrhythmic textures.

Here are a few photos from the preparation stages…

The wood for the glockenspiel notes is cherry from Mennonites in western Maryland, but that’s another story!

The name is derived from an older nautical term which refers to your position relative to the wind and your enemy. If you were upwind from the person you were trying to attack, you could bear down at will. Possibly the geekiest name for a sound installation ever?

Also on the pier will be an interactive installation by Adam Cooke and Elizabeth Edwards, which will involve a gigantic tea set. Fun stuff! Come on down anytime and say hello if you’re in the area. I will be installing it tomorrow starting bright and early, and it will be open to the public all week from 8:30am to 5:30pm. It closes on Sunday the 20th at noon.

I will also be playing a gig in Conwy on Friday night – I will post more about that later on in the week, right now I have to go catch my train!

For the past few months I’ve been quietly working on a gigantic project with an amazing team of people, and last week we finally went public. The Love Music Festival is a brand-new series of musical events happening in schools all around Scotland. It is comprised of a series of exciting workshops in September and October and culminates in two weeks of concerts in venues from Shetland to Peebles, and everywhere in between.

My job is to build custom software, musical installations, and run creative sound recording workshops in schools…so far I’ve been to Peebles, St Andrews, Barra, Benbecula, and Kilmarnock, and next week I’m off to Shetland and Inverness for a few more. You can follow my adventures on my dedicated Love Music page, where I’ll be blogging and posting software and videos. There is some software for download there already, give it a try!

On a side note, the Western Isles are amazing. I’m glad I got a new raincoat, though.

You can RSVP on the New Media Scotland Facebook Group or Eventbrite page.

Hope to see you there!

edit: as I’ve said in the comments, thanks to all who came by! I’ll post photos as soon as I get them from the Apple Store, in the mean time here is one of the mushrooms set up with the laser:

This all came about when Patrick showed me some videos he had made using closeup footage of a laser pointed underneath a protected mushroom – as you will see in the footage below, it’s absolutely gorgeous. I loved how shining a laser revealed a whole hidden world that to me had an intrinsically artistic and musical quality.

Anyway, we decided to collaborate and make an installation that would turn the patterns of those falling spores into music. We were awarded an Alt-W grant from New Media Scotland for the idea, and we have been working on it for the past few weeks. This video gives a bit of an introduction to what we are doing:

One interesting (and unexpected) outcome of tracking the spores to make music is that you end up with a really fascinating data set. This image represent the notes on a piano roll being triggered by three different mushroom spore video feeds – you can see the different patterns created by the different mushrooms.

It’s a big project, and it will take a few more blog posts to explain it all, so if you have any questions please let me know and I will address them as well as I can!

This performance was part of a Cryptic Night with fellow artist Rachel Maclean. The night featured videos by the both of us (including my “Penalty Shootout” and “A story about techno”), a wacky Q & A session, and my performance, which was specifically commissioned for this night.

Exercise Magic!! was based around an exercise video (Real Results with Beverley Callard). I donned a specially designed suit designed by Kristina Johansen containing Wii remotes – you can read through the process she went through to make it on her website. The wiimotes, and a wii balance board on the floor, sent data to custom built Max/MSP/Jitter patches, which controlled the video and audio in real time based on my movements. If you’re interested, you can see a screenshot of that patch in my previous post.

The performance started off with me entering the stage and warming up, before beginning to exercise along with Beverley and Co. Slowly, though, my movements started to create strange sounds that clashed with the perfect world of the video. Eventually the lines began to blur between who was controlling who – was I following the video, or controlling it? Throw in some jamming remixes of the exercise music and you get the idea of Exercise Magic!!

I hope to do this performance again at some point soon, and develop it even further. For now, here is a video that shows the first couple of minutes…it was very dark in there so it’s not great quality, but I hope you get the idea.

Photos by Tamara Polajnar