Electroclarinet 1 - Live in Shanghai

Looking for the studio album? Visit www.electroclarinet.com

I recorded my own performance of Electroclarinet 1 in Shanghai. This is the direct sound from the clarinet (do you see the wireless microphone on the picture?) and the live electronics.

Jean-Francois Charles Electroclarinet 1 Clarinet Live Electronics
Shanghai, October 20th, 2009. Hope you like the white clarinet bell!
Picture by a member of the festival's organization.
Check the program notes on this announcement.

Frozen sounds in Electroclarinet 1

It's winter, and although it's not too cold in Cambridge today, it's a good time to talk about audio freeze (the equivalent of frozen frames in video). We can hear two different versions of frozen sounds in this composition:

  • from 2:50 to 3:50, several tremolos (sometimes arpeggios) are immediately frozen, and followed most of the time by a melodic phrase.
  • from 4:48, a high pitch (concert A) is frozen. Later, notes are added to this sound, building into a chord. The first note is added at 5:00, then 5:03, etc. The ice is melting at 5:26, when the frozen chord undergoes a long descending glissando.

I wish you a great - & warm - new year!

Comments

  1. xenakisJanuary 8, 2010 at 10:06 PM

    hahah happy new year

    only audio no video???not enough!

    this picture increase my interest of shanghai ...send chen's email 2 me thanks!

    ReplyDelete
  2. xenakisJanuary 8, 2010 at 10:11 PM

    uh...you control it all by foot??
    i want to try it in max.

    ReplyDelete
  3. Jean-Francois CharlesJanuary 9, 2010 at 1:55 PM

    Yes, the only controllers I used in this piece are a pedal ("expression pedal") and a double foot switch. One of the switches was used to trigger the next patch/preset/effect, as you want to call it. There was no other controller, indeed.

    ReplyDelete

Post a Comment

Popular posts from this blog

Max for Live: Extreme Time Stretching with Spectral Stretch

Image
In this post, I'm giving insights into the creation of the Spectral Stretch Max for Live Device . There are many ways to achieve audio time stretching without transposition . Some time-based methods build on Pierre Schaefer 's Phonogène . Another approach consists in processing the sound in spectral domain, using a phase vocoder . In this case, the audio samples are converted to spectral data through a Fast Fourier Transform (FFT). Then, even if we focus on extreme time stretching, the details of the phase vocoder implementation have important consequences on the sound quality and the tool's flexibility for live usage. Before introducing the Max for Live device Spectral Stretch, let's have a look at a selection of four possible algorithms: Paulstretch Max Live Phase Vocoder Interpolation between recorded spectra Stochastic Re-synthesis from a recorded sonogram Paulstretch Paul's Extreme Sound Stretch , also known as Paulstretch , is an algorithm designed
Read more

A Free Tutorial on Spectral Sound Processing Using Max/MSP and Jitter

Image
When I discovered electronic music during the Centre Acanthes 2000/Ircam , my favorite topic was real time sound processing in frequency domain. Hans Tutschku taught the wonders of AudioSculpt in Avignon, before Benjamin Thigpen taught Max/MSP in Helsinki. Now, the Computer Music Journal just published an article I wrote about spectral sound processing in real time and performance time ( whereas real-time treatments are applied on a live sound stream, performance-time treatments are transformations of sound files that are generated during a performance ). If you are interested in graphical sound synthesis, phase vocoder , and sonograms (or spectrograms) , I hope you will enjoy this tutorial. The great news is that you can download the article for free on the page of the Computer Music Journal, Issue 32, Volume 3 . Max/MSP/Jitter patches You can readily apply the described techniques in the development environment Max/MSP/Jitter . For a hands-on approach, make sure you download t
Read more

GroundSwell 2020 Emerging Composers Competition

Image
Groundswell is a wonderful organization dedicated to the development of new music in Winnipeg and the Province of Manitoba, Canada. I've been invited to serve as a member of the committee for their first electroacoustic music competition, along with composer Margaret Schedel and composer William Brunson . It's been a fun and quite interesting adventure. We listened to more than two dozen compositions. I wish we could have included more than 5 finalists: there were a number of atypical nice compositions. To listen, head to the competition page . You'll find links to the finalists' music.
Read more