Lacerations 1-3 (2023): These pieces are largely a study on the deconstruction of linear sound sources via largely autonomous processes. The first two tracks are sources from rehearsal recordings made of the Tacet(i) Ensemble for my piece “Composition for Ensemble” while in residence at Cornell University as part of the 2022 Cornell Biennial. As the score was game-based and largely open to interpretation, each performance was remarkably different by design and written with the intention of the composer having a minimized role in the performance – or at the very least their role is superseded by the actions of the ensemble and the structure of the piece itself. www.youtube.com/watch?v=MMuMJGIaudE Looking to extend that concept into the recorded realm, the recordings were first passed through Rodrigo Constanzo’s Monolase software and then routed through a largely autonomous Eurorack patch largely featuring modules of my own design to further deconstruct the recordings, with my role once again being as hands-off as possible. The third piece uses the same process but utilizes a recording of improvised bass guitar recorded at the height of the 2020 lockdown.
Special thanks to the performers of Tacet(i) for their contribution to these tracks. Additional thanks to Piyawat Louilarpprasert for the invitation to write for this ensemble, Rodrigo Constanzo & Peter Blasser for their wonderful instruments, my loving, tolerant family for accommodating the sprawl of equipment throughout the house and the Tone Burst crew for the release.
Travis Johns is a sound artist residing in Ithaca, NY, whose work includes performance, installation and printmaking, often incorporating eco/bio-based themes and electronic instruments of his own design. As an improviser, he performs primarily on electric bass and electronics; with studies in the field conducted under the tutelage of Fred Frith, Joelle Leandre and Butch Morris, among others. Active in the San Francisco Bay Area experimental music scene for several years, Johns moved to Costa Rica in 2011 where he collaborated extensively with visual artist Paulina Velazquez-Solis on Raro, an immersive sound and sculpture installation that represented Costa Rica in the 2013 Biennial of the Central American Isthmus (BAVIC). Since returning to the states, first to Baltimore and later to Ithaca, he’s continued to apply his trade as a composer, educator and sound artist under the nom de plume of VauxFlores,
He holds a B.M. In Technology in Music and Related Arts from the Oberlin Conservatory of Music, studies conducted with Tom Lopez, as well as an MFA from Mills College in Electronic Music and Recording Media, studies conducted with Chris Brown, Les Stuck and Hilda Paredes. He has participated in residencies at such places as the Atlantic Center for the Arts and RPI’s Create @ iEar, and has had work featured by el Museo Centroamericano de Arte Video (MUCEVI), the Electronic Music Foundation, Berkeley Art Museum/Pacific Film Archive (BAMPFA), the Bienarte 8 Costa Rican Biennial, el Museo Nacional de Costa Rica, MAC Panama, The California Academy of Sciences, Alianza Francesa de Guatemala, The Lab (San Francisco), Battery Townsley (Marin County, Ca), el Museo de Arte y Diseño Contemporáneo de Costa Rica, and Rhizome DC.
Design and build your very own sound experiences in this unique collaborative event run in conjunction with Belfast-based sound art collective, Tone Burst. Using the very latest technology, you’ll be free to explore your creative ideas, with help from the team as required. All materials and equipment will be provided and no technical experience is needed, although a passion for sound and music-making is, of course, essential!
Supported by Cycling 74, Electrosmith and Synthux Academy, this event will give you the run-down on a range of cutting-edge digital fabrication technologies, including 3D printers and laser-cutting machines. Come along and see what sounds emerge!
A how-to for making your own custom acoustic-tech ‘monochord’. Viewers are show how to select, combine and play materials. All tools are shown and techniques demonstrated. Various options to suit your very own build.
Barry’s approach is a akin to a recipe where he suggests potential ingredients, a step by step process (how & why), and even some serving suggestions.
Halo is a noir patchwork of generative soundmasses. Sonic elements rearrange themselves and unfold according to their own internal logic. Revealed are themes of alienation and anti-idealism.
Included is a DIY PCB of the EMF Pingler, a detector of invisible signals and ghosts. A noise device that picks up on its environment and makes sound when it is passed through electromagnetic fields (EMFs). The PCB itself features beautiful designs that make it a worthwhile trinket for those who may not want to solder.
As with all TB instrument and DIY PCB releases, if the EMF Pingler is used in your music-making please share the results with us. ‘Toneburst wishes to publish sound creations made by other makers.’ www.grahamfranz.com
The UM66 chip was designed to play popular monophonic melodies: The chip used in this circuit plays several melodies. The UM66 is used two times. They are not synchronised. This DIY EMI has potentiometers to control voltage starve & volume as well as a switch to change the ‘bent’ character of the sound. It is possible to use headers sockets for the ICs to allow them to be swapped, enabling user control over the output.
This version was designed with a Winter celebration in mind, hence the name FESTIVUS as celebrated in regions of Europe and beyond. Nollaig na mBan! (little/women’s christmas Ireland) Trettondedag (13th day Sweden) día de los Reyes Magos (3 kings day Spain), also; Epiphany.
‘It’s the night the taxi drivers quiver in their boots’ Pauline – Cork
(Battery not included.) These DIY EMIs require a 3v CR2032 battery for power. The output is a mono mini jack (3.5mm).
Each item is assembled by hand. The mark of the maker can be found on the surface of the items, showing the efforts to manipulate materials and minimising waste. For us, an imperfect artefact for sale is preferable to a usable flaw in the dump.
This release consists of audio recordings made using circuits based on ICs (integrated circuits or ‘chips’) from the UM series. These DIY EMIs (electronic musical instruments) come from physical remixes, and are bent by design (thanks to Rob Hordijk). The demonstration schematics found in the official datasheets were built, bent, remixed, extended, multiplied and fabricated to facilitate play with a few parameters.
This release shows music composed on computer and expressed as hardware instead of recording. The circuit composition can be viewed as a form of score. The musical instrument voice is technological. The parameters available are limited. Complex frequency output can be made with both UM66 & UM3561 in spite of their obsolescence.
The UM3561 chip was designed to produce sound effects: The chip used in this circuit produces an emergency siren type sound. The UM3561 is used four times. They not synchronised. This DIY EMI has potentiometers to control voltage starve & volume as well as an on/off switch and two touch-pads per IC so that skin contacting the PCB changes resistance and timing/frequency.
The UM66 chip was designed to play popular monophonic melodies: The chip used in this circuit plays Für Elise. The UM66 is used two times. They not synchronised. This DIY EMI has potentiometers to control voltage starve & volume as well as a switch to change the ‘bent’ character of the sound.
These DIY EMIs require a 3v CR2032 battery for power. The output is a mono mini jack (3.5mm). Play with rhythm, melody & noise.