Yearly Archives: 2014

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Concert Order, Sunday December 7th 2014

Concert order for tomorrow’s 3pm performance in Lincoln Hall B20 performance is below with available rehearsal times in parenthesis.

[table]Computer C (Left), Own Laptop (Center), Computer D (Right)
Shelby Hankee (10am), Laura Furman (10:10am), Henry Chuang (10:20am)
James Winebrake(2:10pm), , Yundi Gao (10:40am)
Michelle Gostic(10:50am), Aarohee Fulay (11am), Skyler Gray (11:10am)

“”, INTERMISSION ONE, “”

Adam Beckwith  (11:30am), “”, Benjamin Hwang  (11:40am)
Chad Lazar (11:50pm), “” , Kwang Lee  (12:00pm)
Jennifer Lim  (12:10pm), Riley Owens (12:20pm) , Nicholas Livezey  (12:30pm)
Mary Millard (12:40pm), “” , Cassidy Molina (12:50pm)
Cameron Niazi (1pm), “” ,

“”, INTERMISSION TWO,

Brendan Sanok (1:10pm), “” , Hanbyul Seo (1:20pm)
William Seward (1:30pm), Marcus Wetlaufer (1:40pm), Suk Sung (1:50pm)
Matthew Williams (2pm), “”, Jasmine Edison (10:30am)
Christopher Yu (2:20pm), Luka Maisuradze (2:30pm), Lisa Zhu (2:40pm)
[/table]

Original version of my cover

Hi all,

If you’re curious, here is the link to “Turn It Around” by Lucius, which I covered for Project 2.

Thanks for your feedback today!

 

Cassidy

Studio and lab issues resolved

Earlier today, a student reported issues in the library lab and studios, including 1) Live 9 licensing problems, 2) Reason network licensing (library lab), and 3) Rewire sharing between Live 9 and Reason.

All issues have now been resolved. All studios are repaired, the library lab license server is back online, and Rewire has been confirmed to work, once again, in all three studios.

– Please be sure to use Live 9 for the remainder of the semester, particularly if you are using Rewire.

– If and when issues of this kind (issues affecting the usability of the labs for any user) come up I certainly appreciate hearing about them so they can be resolved immediately. The more detailed your input the more quickly we can resolve the concern.

— Professor Ernste

P.S. While solving an issue in the lab, someone asked about the Network Drive being unavailable. Please see the FAQ on that issue if that happens again.

Tyler Ehrlich’s ScoreViewer for Google Glass

Tyler Ehrlich’s ScoreViewer for Google Glass , a project initially conceived for use by Professor Cynthia Johnston Turner and the Cornell Wind Ensemble, provided a framework for the performance of Professor Kevin Ernste‘s AdWords™/Edward, the first commission piece of its kind for the Google Glass Explorers program.

Score “cards” can be uploaded directly from the web and called up verbally for performance (“OK Glass, perform Kevin’s piece”. Once loaded, performers “wink” through parts of the score (pages, cards, etc).

In AdWords™/Edward, winking advances through a series of short, repeated/looped phrases (see examples below, click to open) displayed in their glasses…a stylistic homage to Terry Riley’s In C, celebrating its 50th Anniversary year in 2014.

IMAGE: John Roark (www.johnroarkmedia.com)

tristan perich at cornell

tristan publicity photo (2)

hi everyone– i just wanted to write a quick post to remind you about tristan perich’s residency at cornell this weekend. tristan is one of the most celebrated young artists working in digital art and electroacoustic music today, and it’s a great opportunity to hear some of his work, hear him speak, or meet him while he’s on campus.

i’m also really pleased to be putting on a concert featuring his music. tristan will perform his piece for two percussionists and 1-bit electronics (joined by prof. mike compitello), and there will also be performances of a large portion of his music for keyboard instruments (including the piece for three toy pianos and 1-bit electronics that i posted earlier in the semester!) performed by myself and the other two doctoral students in my program. i am particularly excited to be playing his piece ‘dual synthesis’ (an *extremely* demanding work for harpsichord and electronics) for the first time.

you can find information on the residency (including the composers forum lecture on nov 7 at 1:30PM and the concert on nov 8 at 8PM) at this link:

http://cca.cornell.edu/perichresidency/

you can also learn more about tristan and his work here:

http://tristanperich.com/

hope to see you!

>david f

Listening from today

Erik Satie: Vexations, score and music (excerpt).

Terry Riley: In C (1964)

Original recording (instrumental ensemble)

Another version (chamber ensemble)

Version for orchestra

Musical score here.

Steve Reich: Come Out

Brian Eno: Music For Airports (Ambient 1)

Alvin Lucier: I am sitting in a room

(Optional) In Bb (YouTube crowdsourced video/music project)

Project One

We ran out of time during section, and it’s too large to directly upload to this blog, so here’s my piece for Project One:

Perhaps ‘Sturm und Drang’ might be a bit much, but I think the thunderstorm sounds justify the dramatic title. Also, I couldn’t think of anything else, so there.

I got the following tracks from Trifonic: vocals, “ambiance”, synth strings, bass, kick, and guitar. I found recording of a thunderstorm on the sound library–thank you, Dave Welsh! I found a track called “breath” that featured two raspy breaths in quick succession. I used those as a sort of heartbeat at the start and end of the piece. I don’t know whose track that is, but thank you, and feel free to comment on this post and take credit; that track was really cool, so you definitely deserve it.

There’s also a pulsating drone throughout. I used drumsticks and chopsticks and recorded myself running the sticks across the keyboards (the one for the iMac, the Yamaha keyboard and the MIDI input device). That track was originally supposed to be rain, but I put resonators on it (Valhalla and Rome, I think), and really liked the sound, so I removed the percussive attacks and made it unrecognizable by adding more reverb. I really like reverb. And resonators. Resonators are cool.

Let me know what you think!

Recording audio in Ableton Live

Recording audio directly into Ableton Live’s DAW is simple, requiring only an audio track and the specification of the input channel. This recording method has advantages over an editor, such as Audacity, in that it allows the selection of arbitrary input channels and easily facilitates the layered synchronization of new material onto old.

1) Create an audio track in Live

Screen Shot 2014-10-07 at 4.33.32 PM

2) In the new track’s input/output section, select the audio input channel you wish to record from.

Screen Shot 2014-10-07 at 4.34.24 PM

3) Arm the record for this new track (WARNING: if the input is a microphone, make sure the speakers are turned down, monitoring only through headphones).

Screen Shot 2014-10-07 at 4.34.59 PM

4) Arm the master record (circle, top-level “transport” control) and hit “play” (triangle)

Screen Shot 2014-10-07 at 4.35.58 PM

Connecting your laptop to studio computers and speakers

1) Using the cable supplied in each studio (1/8″ to split 1/4″, red and white), connect your laptop output to the front “Hi-Z 1 and 2” inputs on the Apogee Ensemble (top-most silver device under the computer).

Screen Shot 2014-10-06 at 5.46.56 PM

2) In either Audacity or Live, set monitoring to “On” or arm record for channels 1 & 2 — in Audacity, 1& 2 are the default; in Live you must specify the track input, as shown here:

Tutorial on “Recording Audio” (as needed): https://www.ableton.com/en/articles/recording-audio/

3 (May be needed)) Open the “Apogee Maestro” software (in /Applications if not shown as a purple “A” icon in the Macintosh dock). In the software’s “Input” tab, under channels 1 & 2 (left-most channels), set the input from “Mic” to either “Inst” (instrument) or “+4”, depending on what is listed.

  • If you do this, please do set it back to “Mic” when you are finished as this might confuse others using the studio after you.

maestro-input2-inst

Cornell Cinema presents:

A Sneak Preview of the New Documentary

Elektro Moskva

Introduced by Trevor Pinch (Science & Technology Studies, Cornell)

Wednesday, September 24 at 7:15pm

Willard Straight Theatre

The film features rare archival footage, including the last 1993 interview with famed inventor Leon Theremin.

Watch a trailer at: elektromoskva.com

Directed by Dominik Spritzendorfer & Elena Tikhonova

Welcome to the weird and definitely wired world of avant garde rock musicians, DIY circuit benders, vodka-swilling dealers and urban archaeologists/collectors, all fascinated with obsolete Soviet-era electronic synthesizers that were the by-product of the KGB and Soviet military, created in the off-hours by scientist/inventors cobbling together spare transistors and wires. In Russian and English with English subtitles. Cosponsored with Science & Technology Studies and The History Center of Tompkins County.

1 hr 29 min

More at cinema.cornell.edu

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