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May 022010
 

“We pressed our diving faces into fields of dead, hot grass. . . An empire left in ruins.” — Arclyte — The Rest

Craighead and Bransford, Nashville, 1:30pm, May 2nd, 2010

Louise Street near Wedgewood, Nashville, 1:35pm, May 2nd, 2010

The last two days have been hairy.  I took the above pictures a few blocks from my house.  Check out this video I took on my iPhone.  The basement where we record all the new Theatre Intangible improvs is currently lined with a few inches of water in one corner.  Luckily, not much is damaged.  But that’s more than I can say for other parts of the city, which are literally destroyed.

Quote of the showcase:

“Theatre Intangible is an avant-garde/experimental show.  A lot of people may say that [Arclyte] doesn’t fit that label.” – Tony Youngblood, host.

“Those people can kiss our asses.”  Charlie Rauh, guitarist, Arclyte.

In brighter news, I’ve finally finished editing the Arclyte artist show (Theatre Intangible Podcast 18) contained herein for your listening pleasure.  I have often mentioned that Arclyte is my favorite local band.  The sparse baroque sounds of Arclyte members Chris Rauh, Charlie Rauh, and Craig Schenker go well with upturned cars and uprooted trees.

Arclyte is a Nashville/DC minimalist rock band reminiscent of Emily Haines and Low.  The Theatre Intangible session is the last Arclyte show for the foreseeable future.  Singer and bassist Chris moved to Washington DC the day after we recorded this.

Discussed in this episode: Cultural Reflex Dance, Anthony Braxton, Hildegard Von Bingham, Mary Halvorson, John Butcher, Sigfried Sasoon, Wilfried Owen, Robert Graves, Rupert Brooke, Emily Haines, Lady GaGa, Portishead, Denali

Click the download link below for the entire podcast, including the interviews.  Or, simply subscribe in iTunes.  If you want the music without the interview, you can download the songs here in 320 kpbs, embedded in a zip file, including an improv piece not available in the podcast.  Enjoy.

Apr 122010
 

John Bohannon, the force behind the experimental psyche-folk band Ancient Ocean, was visiting Nashville from New York for just one day, and he had asked me to assemble an improv for him. We decided on the extremely-capable participants Craig Schenker (saxophone), Jamison Sevitts (trumpet), and Tommy Stangroom (drums). John played electric guitar and lap steel. We were on a VERY tight schedule. For this thirty-three minute improv, we had about an hour and a half from set up to break down. The just-do-it vibe really adds to this show’s vitality and spontaneity. John’s only direction was to play in the vein of Jack Johnson era Miles Davis. The players delivered in spades.

I had just put some old stock Mullard tubes in my Art Tube preamp/compressors and gave them a spin for this show. I’m really quite happy with the sound. The setup is extremely simple: One mic on each instrument mixed to my Mackie 8 channel mixer, sent stereo to my Art mic pre/compressors and then recorded 16 bit 48 khz by my Marantz digital field recorded. If I had things to do over again, I would probably move the mic a few more feet away from the trumpet to give it more room and turn up the saxophone, which at times gets lost in the mix. Otherwise, this is one of the best sounding shows we’ve done thus far. Enjoy.

Mar 282010
 

On October 18th, 2009, seven of us got together and created a new soundtrack to the 1931 film Dracula, directed by Tod Browning and starring Bela Legosi.  This is one of my favorite episodes to date.  The orchestration is extremely lush, and the performers were especially good at knowing when and what to play.

Before the show, we paired a performer with a character in the film and had that performer come up with a character theme.  Ken Soper on keyboard provided the theme for Dracula, for example.  Things really started to get interesting when the characters interacted with each other, and the performers had to find ways to mix the themes together.  Aside from coming up with some themes in advance, the show was completely improvised.

You can listen to this episode in sync with the film (and I’ll tell you how in the podcast intro) or you can just listen without the visuals.  If you can get a copy of the film (and the version we use is the 2004 Universal Legacy collection dvd) I highly recommend you use it.  But if you can’t get the film, don’t let that stop you from listening to the show on it’s own.  The improv still works great by itself.

Dracula Improv features Ken Soper on keys and Theremin; Jamison Sevits on Fender Rhodes; Craig Schenker on saxophone and flute; Charlie Rauh on electric guitar; Cody Bottoms on percussion; Melody Holt on musical saw, autoharp, and Theremin; and myself on a circuit-bent Cool Keys keyboard, musical saw, autoharp, and wind chimes. We had a small audience that also participate by making screams, etc.  They were Mara Bissel, Amanda Tucker, Pimpdaddysupreme, and Deklan.  I did the live mixing and post-production.  Enjoy.

Mar 072010
 

We had a great time at Podcamp Nashville this year, and our show went off without anything disastrous happening.  Apparently, planning does pay off.

If you haven’t been reading our previous posts, Podcamp Nashville is an un-conference about podcasting, blogging, and social media.  We rocked the socks off of twelve or so bewildered attendees with an improv set that fed audience live tweets into a speech synthesizer.  Any tweet that used the hashtag #pcn10ore was read live on air, and we had no control over the content.  One guest tweeted, “Are you guys on acid?”   We peppered the tweets about us with tweets featuring random keywords that the audience picked.

All in all, not a bad day’s work.  Featuring Craig Schenker on saxophone, Lawrence Crow on Supercollider, Chris Murray on Casio SK1 and various effects, JJ Jones on vocals, Melody Holt on vocals, and myself on tweet-synth and SKI.  I mixed the show live on my Mackie 8 channel mixer and recorded on a Marantz digital field recorder.   Aside from some compression and clicks and pop removal, I did very little post-production work on this show.  You’ll hear it in it’s entirety, warts and all.

While I do wish the festival was more about podcasting (as the name implies) and less about business-focused social media strategies, I’m very pleased with our experience.  (Ironically, that is the strength of the Barcamp principle — it’s about what the attendees and speakers want it to be about.)  The major plus is that it got us tons of free press with write-ups in the Metromix and the Tennessean.  And it was a pleasure to watch some of the other sessions, highlights being David Beronja‘s Skype session, Mitch Canter‘s WordPress session, and Dave Delaney‘s talk about geo-location services such as FourSquare.  Maybe we’ll incorporate Foursquare in a future improv.  (Ideas anyone?)

The tweet-to-speech program was a modified version of this open-source Python program by Jayesh Salvi.  While Jayesh’s program searches for tweets in the logged-in user’s timeline, our program searches tweets based on keywords.  I’m a complete Python programming newbie, and I couldn’t have done the modifications without the help of Bryan Kemp.  I also added some lines to filter out certain words (like our hashtag #pcn10ore) and to replace others  (Festival has an annoying habit of pronouncing the symbol “&” as “ampersand,” thus I replaced the “&”‘s with “and”‘s).

You can download our modified code here. (Right click and “save as”)

If you have Python, Fetival, and Curl (if you don’t, in a Linux command line, run “sudo aptitude install python curl festival”), you can use this script in your own musical adventures.  Feel free to modify it as you will.  To change the keyword, replace “keyword” in the following line with the keyword of your choice.

TWITTERURL=”http://search.twitter.com/search.json?q=keyword&rpp=30″

Add a “+” between words if you want to search for multiple keywords (ex. peanut+butter) and a “+OR+” if you want to search for one word or the other (ex. heaven+OR+hell).  Replace “30” with the number of twitter messages you want the program to read before it ends.  I left in the commented-out lines of the original program, so you can experiment.  Future improvements: I’d like this program to automatically filter any tweets previously read through, and, of course, it would be nice to be able to plug in the options from the bash terminal when you run the program instead of in an editor.  I’d love to see what you guys can do with this program.