Focusing on musical creativity, Pugs Luv Beats offers a refreshing change from the standard karaoke-style music games currently on the market. Instead of forcing a player to accurately recreate an existing song, the game encourages exploration and musical composition – playing the game will create original music, different for every user.

In the game, the player controls an alien breed of pugs. Once the masters of a wondrous and highly advanced civilization, these pugs are the victims of their own greed. They loved nothing more than to collect beats, which they cultivated with their special brand of “luv”. But an ill-advised scheme to grow the biggest beat of all time spun wildly out of control, and their home planet was destroyed. The player must help the pugs to grow more beats so they can rediscover new planets, build houses, and recover their lost technology.

Head over to the Pugs Luv Beats website to see lots of videos, screenshots, and information. Give it a download and let me know what you think!

I am very excited to announce that my brother Cory and I have finished our new album, entitled Jagged Land.

It is available on CD and as a digital download, through iTunes, CD Baby, or Bandcamp. Here’s a sample for you:

I’m very proud of the album. It’s a rootsy bluesy gospelly emotional contemporary jumble, which I think is a pretty good reflection of Cory and me.

The digital download of the album is currently on sale for just $5 minimum from Bandcamp. If you buy from there you’ll get two bonus tracks for free!

Please visit the Seznec Brothers website for more information.

Next week I’m headed back out with Matthew Herbert and company to do some more One Pig Live shows. I’ve spent the last few days tweaking the Sty Harp and I’m looking forward to the gigs!

The dates and places are:
November 17th, Berghain, Berlin info in English, German

November 18th, STRP Festival, Eindhoven info in English, Dutch

November 25th, Ancienne Belgique, Brussels info in Flemish, French, English

December 2nd, Club Silencio, Paris the internet is curiously devoid of information on this one

December 3rd, Gaswerk, Zurich

Let me know if you’ll be coming along, hope to see you there.

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.

In a nutshell, Festipods lets you create a petri dish full of little musical creatures that represent the events you have attended (or will attend) in the Edinburgh festivals. It was commissioned by the Edinburgh Festivals Innovation Lab, after our participation in Culture Hack Scotland.

There is much more information over at the Lucky Frame website, include images of the development and the open source code of the whole project. Go check it out!

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 reverse side a radioplay-style recording of a doctor and a patient discussing the merits of various Norgine medications.

The sleeve design is also amazing. I’d like to scan it all at some point, but for the moment here are some photos.

I’m bound to use this record for some sort of project in the future…if you have any ideas let me know! In the mean time, please download the recordings and use them for anything you like. Could make some creepy hiphop samples or something…