Thursday, February 28, 2013

Awesome Personalized Instruments With 3D Printing

What artist hasn't was standing in their preferred music store and thought, "If only I had enough money I would buy that in a heartbeat"? Due to 3D publishing this may be a subject put to rest. Scott Peak, artist and 3D developer, has printed the first instrument and by doing so has brought up all kinds of musical technology opportunities.

3D publishing is the process of developing a three-dimensional item from a digital design that has been designed on a pc. Design guidelines are sent in a computer file from the pc to the 3D printing device, where it chooses the correct components and "prints" them together part by part to form the item. This method of production allows an unmatched amount of personalization and provides available means of development to the community.

3D photo printers have designed instruments in the last, but this is the first attempt at publishing an instrument. Peak didn't originally anticipate his nasty design to work. He thought that the nasty would click due to the stress of stiffened post, and even if it live through the stress he presumed that the guitar's audio quality would be inadequate. Much to his shock, his instrument didn't click. And it seemed great!

"It's wealthy and full and has an excellent tonal variety," says Peak who has had a lot of time to play with his new instrument. Although the nasty seemed good, he included some timber to create the audio lighter.

Various instruments have already been printed. The personalization element of 3D publishing has designed some pretty amazing guitars such as ones that look like a spider's web and others that are made of entirely of geometrical styles.

3D Systems has joined up with Peak to create a professional line of customized guitars. "If we want it to audio like a Gibson we add mahogany and if we want a [Fender] Strat or Telecaster audio we use maple". Whenever the group has a new idea they flame up the photo printers and test it out, which is extremely cheap.

The collaboration is now scheming to create Gibson Les Paul-style systems from polyether ether ketone (PEEK), which has similar hardness to timber. Along with 3D printing's ability to generate things with complicated inner forms, this provides a variety of sound opportunities.

Thanks to 3D publishing, instrument development is now less expensive and more flexible. The only guitar players who can grumble are those artists who amuse their viewers by striking their instrument on level. Unfortunately for them, these printed designs are extremely resilient and can hold up against even a intense onstage defeating.

Saturday, February 23, 2013

Eyvind Kang & Jessika Kenney

Acclaimed duo Jessika Kenney (voice) and Eyvind Kang (viola, setar) play original pieces from their LP The Face of the Earth (Ideologic Organ), as well as repertoire from the classical Persian tradition.

Friday, February 22, 2013

Banned Rehearsal

"Let's try a session playing instruments we don't know how to play." This simple suggestion in June of 1984 among three newly re-united musicians wrought an improvisational project of uncommon longevity and abundance. Nearly 29 years along, and with 830 recorded and numbered sessions behind us, we are still not entirely sure what we are doing. Charter members Keith Eisenbrey, Aaron Keyt, and Neal Meyer will be joined by long-time collaborator Karen Eisenbrey and recent adoptee Steve Kennedy in an evening of noise and exploration.

Thursday, February 21, 2013

Sanchez / Greenlief / Ospovat

NYC pianist Angelica Sanchez and frequent Bay Area collaborators Phillip Greenlief (saxophone) and Sam Ospovat (drums) play improvised music — not the free-wheeling sounds you would expect from the purveyors of classic free jazz, but rather music that is improvised with a mind for creating spontaneous themes, melodies and forms that the musicians use as a springboard for variation and development. Seattle saxophonist Jacob Rex Zimmerman and Bay Area guitarist Jameson Swanagon open.

Wednesday, February 20, 2013

The Best Navy Foxes Music of All Time - Top 5 And Why

1) "White Winter time Hymnal" from Navy Foxes (2008)

Imagine going for a sleigh drive on a warm, but cool winter day. You see the pumpkin heads or scarecrows of plants sleeping and listen to the sleigh alarms buzzing, as the cool air refreshes your respiratory system. That's what White-colored Winter time Hymnal stands for for me. This music is only one line recurring three times. Navy Foxes presents themselves to the musical technology landscape with this individual off of their first record that shows their clean harmonies along with simple instrumentation. The group has gone on to cover more floor than what is proven in this music, but this music condenses them to their essential components. You'll listen to it once and it won't keep you.

2) "Your Protector" from Navy Foxes (2008)

The 8th monitor off of their first appearance record was an anthem. With less (but still quite a few) oral harmonies than White-colored Winter time Hymnal, Your Guard features the group's capability to use instrumentation successfully. The emphasize of this music for me is the flute aspect that describes the personality of the whole music. The tambourine-plus beat contributes to the feeling that this music was published and conducted around a fire somewhere and sang to the celestial satellite.

3) "Blue Variety Mountains" from Navy Foxes (2008)

Again back to the concept of careful instrumentation along with dense harmonies under numerous reverb, Red Variety Hills shows the substance of Navy Foxes. The almost stroking violin aspect that appears to be like it is being conducted in an old-west saloon, places the scenery along with a easy instrument. The music seems like a increase through the timber in springtime with high evergreens all around you and the audio of a reducing flow in the qualifications.

4) "Helplessness Blues" from Vulnerability Doldrums (2011)

Another anthem from the group, Vulnerability Doldrums was the headline monitor from the group's second record. As the droning instrument places the scenery and manages the beat for the first 50 percent of the music. Of all their songs, this one informs me most of a common Simon & Garfunkel track. The second 50 percent of the music is presented along with more instrumentation such as some drums and an instrument. Throughout the music the words perspective in and out of balance... something we've come to anticipate and appreciate from the group at this point.

5) "Montezuma" from Vulnerability Doldrums (2011)

Montezuma informs me a lot of White-colored Winter time Hymnal off of the group's first record, but this music appears to be more like summer months instead of winter. Instead of two connected oral collections we listen to a choir audio assisting the main line as in White-colored Winter time Hymnal. As regular, the easy individuals style instrument manages all of the instrumentation. This music is most comparable to relaxing in a grassy area on a mid-summers day viewing the atmosphere flow by along with my roaming ideas.

Saturday, February 16, 2013

Concert Imaginaire

Concert Imaginaire is a unique music ensemble that pushes the boundaries of form and content, drawing listeners into a musical world that is as much psychological as it is visceral. Consisting of voice, violin, bass, synthesizer, guitar and percussion, the ensemble will perform electric chamber music, group free improvisations, and art songs.

Friday, February 15, 2013

Neil Welch + Chris Icasiano

Saxophonist Neil Welch performs music from his new full-length solo album Twelve Tiny Explosions, released on the local label Table and Chairs Music. Cluster, mute, smear, rangy, scream, coo, blast – Welch is an active mover of modern improvisation. Approaching the instrument as more a textural tool, tonight's performance will be inspired by the unique sound of the Chapel. Chris Icasiano, one of Seattle's most inventive drummers and a longtime collaborator with Welch in the duo Bad Luck, opens with a set of solo drums.

Wednesday, February 13, 2013

Beth Fleenor Workshop Ensemble

Beth Fleenor leads an 11-piece ensemble performing her 2012 conduction work SILT plus music for blindfolded ensemble. Beth Fleenor, clarinet/composer; Michele Khazak, voice; Kate Olson, soprano sax; Chris Credit, winds; Brian Bermudez, winds; Sam Boshnack, trumpet; Paul Kemmish, bass; Evan Flory-Barnes, bass; Michael Owcharuk, piano; Greg Campbell, percussion/French horn; Adam Kozie, drums.

Tuesday, February 12, 2013

The Best Radiohead Songs of All Time

"Paranoid Android" from OK Pc (1997)

Referred to by many as a Bohemian Rhapsody for a young creation, Weird Android operating system is a real trip. The music informs a tale with and its unique segments take you through different musical technology scenery along the way. Various group associates proved helpful on each area independently, and then they installed them together to type a 6min+ music. This music is definitely one of the most impressive songs of all-time and has to be in any discussion for best Radiohead music of all-time.

"Idioteque" from Kid A (2000)

Jumping and moving surpasses meet with Yorke's serious oral collections. Lyrically, this music is one of the group's most exciting, with highly apocalyptic undertones. The collections themselves stay a bit uncertain and mysterious, but they cause you to feel like a surprise is preparing somewhere. This music provides you ahead like an sea increase. The defeat holds you and doesn't let you go until the end of the monitor. And you probably didn't even observe that this music doesn't have any instrument in it...

"Karma Police" from OK Pc (1997)

Back to Radiohead's milestone record again, Seo Cops was the immediate hit from OK Pc. This music is one of those great performs of art that appears to be like something you observed before, but can't keep in mind where. The music gets to so greatly within of the audience that it resonates with our very humankind. Pay attention to this once and you won't be able to get it out of your go for the next weeks time.

"Codex" from The Master of Divisions (2011)

Words that explain this music include: serenity, comfort, take care of. Codex seems like a amazing desire I once had and, try as I might, couldn't keep in mind. Radiohead shows the art of convenience in this music. Every audio seems clearly believed out, every activity calculated, and every second loaded completely. What an amazing business presentation of stability in music.

"Everything in Its Right Place" from Kid A (2000)

The starting music to Kid A doesn't let you down. It yells out the group's objective to destroy the position quo of recent music. Like Codex (which would come 11 years later), this music is all about wonderful constraint and stability. The music functions just a drum device, key pad, and Tom Yorke's terms. But don't let that deceive you into considering that the music does not have power or speed... it will capture you up like a natural disaster.

Saturday, February 9, 2013

Seattle Improvised Music Festival #3

Presented by Seattle Improvised Music and Nonsequitur.

The longest running improvised music festival in North America celebrates its 28th year, bringing together a gamut of Northwest luminaries to meet up with three remarkable visiting musicians: Trio: LaDonna Smith (violin, viola, voice), Tari Nelson-Zagar (violin), Monica Schley (harp); Duo: Craig Taborn (piano), Greg Campbell (percussion); Solo: Tucker Dulin (trombone) 

Friday, February 8, 2013

Seattle Improvised Music Festival #2

Presented by Seattle Improvised Music and Nonsequitur.

The longest running improvised music festival in North America celebrates its 28th year, bringing together a gamut of Northwest luminaries to meet up with three remarkable visiting musicians: Quartet: Tucker Dulin (trombone), Gust Burns (piano), Mark Collins (bass), Jonathan Way (electronics); Solo: LaDonna Smith (violin, viola, voice); Trio: Craig Taborn (piano), Paul Hoskin (baritone saxophone), Mark Ostrowski (percussion)

Thursday, February 7, 2013

Seattle Improvised Music Festival #1

Presented by Seattle Improvised Music and Nonsequitur.

The longest running improvised music festival in North America celebrates its 28th year, bringing together a gamut of Northwest luminaries to meet up with three remarkable visiting musicians: Quartet: LaDonna Smith (violin, viola, voice), Amy Denio (accordion, alto saxophone, voice), Beth Fleenor (clarinet, voice), Paul Hoskin (contrabass clarinet); Trio: Tucker Dulin (trombone), Greg Powers (trombone), Stuart Dempster (trombone); Quartet: Craig Taborn (piano), Ivan Arteaga (saxophone, clarinet), Wayne Horvitz (keyboard), Paul Kikuchi (percussion)

Monday, February 4, 2013

The Energy of Song

What are the boundaries to the ability of music? It is almost difficult to determine. It goes minds and hearts, people, and countries.

Pete Seeger popularly said:

"Songs are sly factors. They can miss across boundaries. Multiply in jails. Go through difficult seashells... I always regarded that the right music at the right time could modify record."

And that's not hyperbole.

Rock Around the Time was like a highly effective medication for teenagers in the 1950s, and probably designed what is these days known as the "teenager"; not just unformed grownups, but a kind of younger people in our community who, such as, have non reusable earnings. This reality alone modified promotion in this nation permanently.

For hippies in the 50's, the Scott McKenzie track, "San Francisco (Be Sure to Use Blossoms in Your Hair)" was an anthem, and motivated ratings of younger optimists to shift across nation to be a part of a activity. The Clash's "London's Burning" motivated youngsters battling racial discrimination and the fascist Nationwide Front side, in London, uk, and "Courtesy of the Red, White-colored & Red (The Upset American)," by Candice Keith, thrilled the nation against the terrorists behind the 9/11 strikes.

Plato (or a quotation linked to him) known as music a "moral law," Longfellow known as it the "universal terminology of humanity," and Confucius said that music provides a "kind of satisfaction which individual instinct cannot do without."

In conditions of emotions, echoing the emotions of the center, and motivating emotions of bravery and relaxing in unhappiness, yes, these factors we all know that music does well. This is why we pay attention to the stereo. But motivating governmental movements? Interpreting demographics? Modifying the experience of advertising? Few factors are regarded less associated with the actual motorists of a nation politically and financially than the top 40, and yet... we are individual, after all.

Say what you want about Stone n' Move, but it goes people. And that indicates their interests. Sometimes those interests cause to war.

The songwriter, then, can be just as important in forming the activities of globe record as a common or a president; and not in any magical, enormous kind of way, but in a very actual and immediate way.

What is more amazing is where this power comes from, and how it is conjured. The music is a very exclusive item of art. It is challenging and intangible. As soon as you listen to it, it is gone. It is there, but it isn't. It is the most negligible of art types, and yet it is the most ever-present. People do not say, "I have this artwork trapped in my go... "
The music is not just challenging to the audience, but to the designer, as well. Tracy Chapman said:

"Songwriting is a very strange procedure. It seems like developing something from nothing. It's something I don't experience like I really management."

James Taylor said:

"Songwriting is too strange and out of management a procedure for me to immediate it towards any one factor."

Inspiration can be found near to the spirit of the songwriter; it his or her center. Not a simple motivation, but the air he/she inhales. As Emerson said, a author creates not because he wants to, but because he has to.

It is difficult not to talk in magical terminology about an electrical that is apparently attracted from the galaxy by fantasizing artists; an electrical that, when routed, can talk with and shift the minds and hearts and spirits of people across the globe, regardless of competition or religious beliefs. When effectively recognized, it is a ability to be terrifying and well known.

As Plato said in Republic:

"For a modify to a new kind of music is something to be careful of as a threat of all our performance. For the ways of music are never disrupted without disturbing of the most essential governmental and public conferences."

Music talks to the best of what we are, and gets to to the absolute depths that we cannot plumb. It is existing everywhere, weaved into the material of press and business, information, activities and state policies. Our lifestyles are so thoroughly saturated with it that we often don't identify just how persistent it is until we begin hearing.

Perhaps, as Confucius say... because we basically cannot stay without it.

Friday, February 1, 2013

Works of Herbert Brun, His Friends & Students

Herbert Brün was a pioneer of electronic and computer music, with particular interests in cybernetics and language, who also sought to apply principals of composition to social theory. As a professor at University of Illinois at Urbana-Champaigne he was a highly influential teacher to a generation of American composers. Tonight's concert is a tribute by some of his students, performing works by themselves and their teacher. Herbert Brün: Infraudibles for quintet; Susan Parenti: The Poet Retracts; Mark Enslin: Unentitled for speaking pianist; Arun Chandra: An Untitled Poem in Sixteen Stanzae; Ben Kapp: Three Poems by Gertrude Stein for voice and two percussionists.