350th Live Takes
We will now be taking a moment to celebrate a special achievement in the time of my creative practice. Last week I put out the 350th Live Takes work. Let’s talk through it in the blog today.
When looking back at the purpose of Live Takes, it was done for the purposes of:
Weekly creation, practice and accountability
The development of an archive of work to look back on
Experiment with new audio and visual composition techniques
The page on my site describes the works as:
This is a collection of live recordings. These were composed using a variety of digital tools made by the artist. These include: composition tools, effects, processors, randomisers, algorithmic generators, synthesisers, noisemakers, instruments and visualisers. Some external instruments and tools were also used.
This is quite general but it has to be, considering the nature of the works. It is an output tool in which I use to make sure I facilitate my mantra. Keep up the work, keep up the work, keep up the work.
In this time, I believe have achieved all of those things and more. I have moved from a feeling to formal naming convention. I have done works encompassing:
Generative - manual and machine made utilising:
prescribed algorithms
randomisers, chance and chaos
Synthesis - coded and with hardware/software instruments
Fluxus pieces
Electronica, Drum and Bass, Synthwave
Drone, ambient and experimental works (of many subgenres)
Vocal works
Visual lead works, and visual accompanied works
and much more
This does not mean I should not continue to grow and change. I will make continued changes to the format throughout however long I continue the practice. There have certainly been times I thought I would stop. As we all do on our creative journey, but I have not stopped. I have responded to the muse within and adapted. Forcing myself down different avenues of creativity.
Check out the full showcase of the works here: Live Takes
Read more on the blog about Live Takes here: Thoughts
Live Takes: Sonic Experiment #350
A generative piano piece put with visuals of local nature.
It is a short piano work. The timbre for the piano is made from the Korg Wavestate - layered with tome tape delay and reverb from the Soundcraft Signature Mk22 desk. The analogue sound adds a beautiful character to the timbres of the digital piano samples. There are chords and single notes, in a set key of C major with generative pitch, chance and velocity midid effects added from the Squarp Pyramid. It is powerfully emotive, in the limited structure to its harmonies and melodies. The unsure feeling is balanced with the feeling of hope and sadness. The visual component is a slowed nature and suburban scene that accentuates the audio, as it sits gently in the background. There is a somewhat feeling of the sublime in the imagery as the leaves slowly sway in the breeze.
