Thanks for the good wishes Bakis, Florian, and sfrules. The show turned out well (free improvisation, with the lights being projected on the musicians -- it sounds very hippyish, but the visual artist is a cartoonist by trade, so his visuals are extreme). A dotcom user was in the audience, and he was intrigued by the suitcase implementation and the functional density of the modules. I'm a big fan of the suitcase-style setup, because it allows me to take a highly complex system onto an airplane by hand rather than risk loss or damage. (Someone told me that in the US thousands of pieces of luggage are misdirected daily by the airlines...yikes!)

When I impovise with the modular, I patch in real time trying to get to the sound I hear in situ (rather than bring the instrument prepatched). I don't use a keyboard, so the triggering is done mostly using the quad LFO, the Plan B triple event timer, and the A-149-1 and -2 SOU-style modules. A lot of the time the two oscillators I have (A-110 and Plan B) are tuned subsonic so I get a popping sound, and then I filter that, use the panner module to spacialize it, etc.

Tonight's concert ended with my duo partner playing a saw, and me playing ultrasonic sounds so that suble heterodyning effects could be sensed, but only as air pressure, rather than as high-frequency pitches.

Regarding the opera piece I mentioned earlier: after my tour I'll try to put a very short excerpt on this group's site as an MP3 for a couple of days, in case you want to check it out. It's pretty agressive. (A longer excerpt will appear later on an upcoming CD compilation of analog synths.)
ginorobair


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