Continuum Fingerboard and a Kalimba plugged into the Lyra 8

 Basel last edited: Thu, 12 Apr 2018 22:14:44 +0200  
This is my most comfortable setup for #live #performances: The #Continuum #Fingerboard and a #Kalimba plugged into the #Lyra8. The setup is light (I can take it on my bicycle and with public transports) and easily built up. Neither sound engineering nor much space is needed on stage. The controlling interfaces of the three instruments allow me to #improvise intuitively, using only my both hands and feet. The audience can clearly observe how I interact with these very special instruments. The sound is completely #analog and very organic. All sound is triggered directly by me, a human being, without loops or sequencers. The only effect is the built-in delay of the Lyra 8. The tonalities are also controlled carefully by me. The three instruments allow me to do so. No pre-defined un-natural 12-half-tone equally tempered scale is used. Recorded 2018-03-21

Lyra 8 & Kalimba & Continuum ""Koto"" (In honor of Alice Coltrane) by KING EMIR
by KING EMIR on SoundCloud


Lyra 8 & Continuum ""Tablas"" (In honor of Alice Coltrane) by KING EMIR
by KING EMIR on SoundCloud


Lyra 8 & Kalimba ""Beatbox"" (In honor of Alice Coltrane) by KING EMIR
by KING EMIR on SoundCloud

#music #experimental #freejazz #psychedelic #microtonal #polyrhythmic #Improvisation !Calculator Music Appreciation Society !Music
  last edited: Wed, 30 May 2018 20:11:52 +0200  
My tracks are listed as examples on the website of the company which builds the Lyra 8: https://somasynths.com/tracks-with-lyra/
  
  
@h.ear.t | tobias Freut mich, dass es dir gefallen hat. Danke :-)

That must have been an interesting exhibition!

The Lyra has its own sound generators, they respond to closing the electric circuit with your fingers on contact spots. The sound generators have a really slow attack, so you end up using their sound to create spheric soundscapes, it's almost impossible to play melodies. Each sound generator can be tweaked steplessly in the pitch, and a pair of neighboring sound generators can be tweaked in the shape (triangle->square or so). They can also be used for modulating each other. Then, there's the effect section which is a quite unique delay.

Yes, I plug in an analogue picked up Kalimba into the Lyra, to let its sound be modified by the effect section of the Lyra, and to add the Lyra's own sounds.

The continuum has its own internal sounds (a mix of multisamples and digital sound generators) which respond sophisticatedly to the playing on the continuum surface and to foot pedals.
The Internal Sounds are implemented using a variety of synthesis techniques including FM, physical modeling, timbre morphing, pitch shifting, additive synthesis, waveshaping, convolution, and classical synthesis.


http://www.hakenaudio.com/Continuum/hakenaudiointerm.html


I used to control external synths (both analogue and digital) with it, but I hate all the midi setting up, it's so annoying, at the moment I use just the internal sounds (which could be programmed if you like). It's not possible to use the Continuum as a sampler/looper though.

Wir können gerne auf deutsch weiter darüber austauschen, wenn du möchtest
East Man --- Red, White & Zero

 Basel 
This is an interesting introduction by Paul Gilroy to the #grime #music album "Red, White & Zero" by East Man:

London’s young people have been seen as a problem by governments for many generations now. Their distinctive street cultures stretch back into the nineteenth century when, just like today, a stylish public presence signified danger to respectable people. At that time, Britain’s class conflicts were being re-made amidst all the glorious
fruits of a global empire. Divisions like class and sex had diafferent shapes and tempos that hardly resemble the machinery of our increasingly networked and unequal world. Religion, racism and nationalism were all important, but work, exploitation and poverty supplied the fiery core of politricks.
These days, Britain’s imperial wealth and prestige are long gone. Today’s young people are excluded and marginalized, confined and criminalized, yet they remain at the heart of the vital, energetic best of our city. Their energy and imagination drive London’s convivial culture. They duck and dive just like their predecessors. They hustle, they suffer and they survive. Even where knives are common, most of the problems that come up get resolved without murderous violence. The defining experience of their precarious situation is more likely to be fear or anxiety than warfare between gangs. Their violence is more likely to turn inwards on to their loved ones and family members. There are many forms of self harm and self medication.
Yet the space in which those youthful lives unfold has contracted. The scale on which life is lived has shrunk. Moving around can be expensive. Surveillance is constant. Dignity and certainty are difficult to find and hold on to. It can be hard to feel comfortable outside the spaces and places you know best. Those familiar circuits are marked out by the roadside shrines of dead flowers that show just how vulnerable you can quickly become.
We have been losing London to Babylon but we are busy making a new place. The edges of the city have become fertile. The weeds grow up explosively between palisaded concrete boxes and the litter-strewn greenery. This is not zones 1 and 2 where houses and flats are capital rather than buildings to live in. The music that comes out of that edgy world isn’t what it was a generation ago, but it’s still fundamental --necessary for life.
These shocking sounds can be a part of healing and repair while staying faithful to the pressures that forged them. Musicians can’t make a living from their creativity, but their listeners can’t understand this historical moment unless they get to grips with its local rules, meanings and poetry. This is not America. Even without words, this music speaks for itself and tells a story. It calls out to be understood while seeking ways to escape interpretation.

We are always more than either this or that. We are more than either black or white.

Paul Gilroy 2017.

#EastMan is a new project from #AnthoneyHart and its material predates his previous work as #BasicRhythm. His unique take on grime reduces the sound to its steely fundamentals, bringing in influences from #dancehall, #drumandbass and #techno to gird the voices of the MCs he works with. His own name for this hardcore continuum mongrel is 'Hi Tek'.
Pre-listen here: ANOST | East Man - Red, White & Zero  @Music
 from Diaspora
feelin some so solid crew vibes here ;)
  
  
@h.ear.t | tobias
I like Dogtribe by Fun-Da-Mental!
ZGTO has some potential, but it's too stoned for my taste.
Cheers! Always happy to get some suggestions
B.t.w. this is my newest upload from yesterday, it's a #deep #experimental #tribal #polyrhythmic #house #techno #dub #footwork #bass #mixtape for some friends of mine:

De La Tribu - Tip2 by De La Tribu
by De La Tribu on SoundCloud
 Basel last edited: Wed, 07 Mar 2018 23:06:33 +0100  
!Music !Hip Hop  A #free-jazz / #hip-hop #experimental #avantgarde #microtonal #psychedelic #jam recorded 2017-04-15 (onetake #drums by Meisterbeatz, #analogue #synthesizer #Korg #Monotron, #Haken #Continuum #Fingerboard & #DSI #Tetr4 by noises.ch and #turntables by King Emir) in Basel at my home. Everybody please be #creative and use this track (you can modify it or use it in your art)
#CollaboMusic #CollaboArt #CC BY-NC-SA 3.0 #ownmusicalwork

Interstellar Travel Jam (Meisterbeatz, Noises.ch & King Emir) by KING EMIR
by KING EMIR on SoundCloud
 Basel last edited: Sun, 10 Jun 2018 16:21:16 +0200  
A #free-jazz / #hip-hop #experimental #avantgarde #noise #microtonal #psychedelic #jam recorded 2017-04-15 (onetake #drums by Meisterbeatz plus #Kalimba by King Emir) and 2018-01-25 (#analogue #synthesizer #Lyra8, #Monotron, #Continuum #Fingerboard & #DSI #Tetr4 onetake by King Emir) in Basel at my home. Everybody please be #creative and use this track (you can modify it or use it in your art)
#CollaboMusic #CollaboArt #CC BY-NC-SA 3.0

Kaminari Jam (Meisterbeatz & King Emir) by KING EMIR
by KING EMIR on SoundCloud

!Music !Hip Hop
 Basel last edited: Tue, 30 Jan 2018 14:11:17 +0100  
BeatclubFCBeatclubFC wrote the following post Tue, 23 Jan 2018 18:59:39 +0100
#music #experimental #dfa #digidub #dub #post-punk #tape #bristol

Jay Glass Dubs vs Guerilla Toss - Can I Get The Real Dub?


DFA Records and Bokeh Versions have teamed up for a joint release - a reworking of the freaky post-punk stylings of Guerilla Toss by Athens, Greece-based musician and producer Dimitris Papadatos, a.k.a. Jay Glass Dubs....