Showing posts with label hidden village. Show all posts
Showing posts with label hidden village. Show all posts
Friday, April 24, 2009
Wednesday, April 22, 2009
Reminder: Hidden Village Tomorrow Night
A gentle reminder that Hidden Village are playing at the Adelaide Festival of Unpopular Music tomorrow night. The evening will consist of a live performance and some video works, including the very first Australian screening of the Paul Slocum's commissioned work "You're Not My Father".
When: 7.30 PM, Thursday 23rd April
Where: de la Catessen Gallery, Anster Street, Adelaide
Monday, April 20, 2009
"I Am Sitting In A Room" (Lucier, 1970) for MacBook and TextEdit
An audio/video version of Alvin Lucier's seminal work "I Am Sitting In A Room" for acoustic spaces, recording devices and spoken voice can be found below. It features a MacBook and TextEdit.
I Am Sitting In A Room (MacSpeech and TextEdit Version) from sebastian tomczak on Vimeo.
I Am Sitting In A Room (MacSpeech and TextEdit Version) from sebastian tomczak on Vimeo.
Saturday, April 18, 2009
sto.Cells Update - PSX Dance Mat Support
I've added PlayStation Dance Mat support for my sto.Cells Max/MSP patch. The results have been great, freeing the user from always looking at the screen and pressing buttons, and actually listening to the audio outcome. Maybe that is a bit of an extreme way of putting it, but I'm sure you understand what I mean. Above you can see Lauren jamming with the patch using a shamisen.
Thursday, April 09, 2009
Hidden Village: To Stare At The Sun (Piano / Video Version)
A re-imagination of a track from our Star Maker EP.
The audio from the video can be downloaded as an MP3 here.
Thursday, April 02, 2009
sto.Cells
I have been working on a simple Max/MSP patch that is for an upcoming performance. The idea is to have four looping buffers that are each 2, 4, 6 or 8 beats long in comparison to a global tempo.
Each cell has a record button, which corresponds to a number on the computer keyboard from 1 to 4. If pressed, the cell will visually count in four beats, after which it will record audio for the appropriate length.
If there is audio already in the cell's buffer, the incoming audio is simply summed with the existing audio.
There is a fade out button, which takes five seconds to reduce the amplitude of a given cell from 100% to 0% - after which the memory of the cell is destroyed.
There is also a fader on each cell.
Tuesday, March 31, 2009
Luke Altmann Interviews Hidden Village
Luke Altmann is an Adelaide-based new music composer, curator and gallery director, and runs the de la Catessen Gallery on Anster Street in the CBD.
In the chiptune community Lauren Tomczak and Sebastian Tomczak, as Hidden Village, are internationally recognized. They draw upon an eclectic collection of retro game consoles, such as the Atari 2600, Vectrex, the Sega Master System and Mega Drive, utilising recently developed sound software to create a performance duo. They endeavour to explore the use of relatively unconventional hardware and software in music making, such as the use of mobile phones as homebrew portable instruments and the construction of self-designed digital sequencing devices from scratch as performance.
Additionally, they have designed and implemented a number of physical interfaces for use in musical performance involving light and water as well as an interface for the Vectrex videogame console. They have performed at the Australian Computer Music Conference (2006), the Tyndall Assembly Concert Series (2007), and expanded to perform as Hidden City for the opening of the 2008 Adelaide Festival of Arts, alongside Stephen Whittington, Luke Harrald, Derek Pascoe and the Zephyr Quartet. The closing concert of AFUM 09 is one of Hidden Village’s major performances for 2009, and will feature a keyboard-controlled walkman-mellotron, singing bowls, and live VGA hacking.
Obviously, I had some questions to ask them ahead of this, beginning with a request for their definition of the under-represented art of Chiptune:
HV: Chiptune or chipmusic is the use of obsolete video game consoles and computers in music composition, production, and performance. The movement revolves around the use of sound chips. However, the meaning of the word has changed over time; originally, the term chiptune was used to describe a certain kind of Amiga music in the very late eighties and early nineties, so it was a very narrow use of the word.
Since then, the word has become broader in its application, and today includes music that was made using emulation, music that has its roots in inspiration (music that uses sounds that imitate sound chips rather than emulate), and music that uses traditional instrumentation to complement (or to be complemented by) chipmusic instrumentation. Currently, popular consoles and computers within the chipmusic scene include the Nintendo Game Boy, the NES, the Commodore 64, and the Amiga. However, a wide variety of consoles are in use today.
LA: Most activities of the growing international chiptune community are conducted online. Why are live performances so rare?
HV: Are live performances so rare? They are in Adelaide, but even in Melbourne and Sydney the numbers of concerts and shows featuring Game Boys and Nintendos are increasing. In the US, the UK and Europe, and parts of South-East Asia, live chipmusic performance is more common than here in Australia.
LA: Chiptune music, pervading areas of private entertainment otherwise closed to art music - namely computer and video games - has undeniable connotations of introverted escape. How do people respond to hearing this music in the context of a public concert in room full of strangers?
HV: The responses of people will undoubtedly change depending on the material that is presented as well as their own connection (if any) to these types of electronic sounds. For Hidden Village, chipmusic at its core represents an exploration of decontextualisation and an exploration of constraints - both technical and, as a result, timbral. So in this sense, it is hoped that people do no necessarily connect any feelings of nostalgia directly with our music but, rather, hear these sounds in a new light, in a new context.
LA: Do you perform as though playing a game, thus building a piece out of personal responses to unforeseeable dilemmas hidden from the audience, or do you largely compose pieces in advance with a focus on musical development in the more or less traditional sense?
HV: Our performances are a mix of through-composed music and improvisation in the sense that the structure and form of a work is not set but certain phrases and instrumentation are set beforehand. In our performance for the AFUM, we are combining aspects of chipmusic, live sampling, improvisation, and field recordings, with a healthy dose of humour and reflexivity, as well as some more serious minimalism.
LA: The late Tristram Cary was a pioneer of finding new musical uses for old electrical equipment - starting with discarded WWII navy surplus components - and also played a central role in the institutionalisation of electronic music in Australia. We now see Hidden Village taking a similar do-it-yourself approach as graduates of the Adelaide University's state-of-the-art Electronic Music Unit to which Cary contributed so much. Is this a consciously ironic reaction to the standards of academia or a warm acknowledgement and deep bow to your musical roots? Or both?
HV: I would have to say it's more of a deep bow to our musical roots. The use of DIY aesthetics and ideologies have been a part of electronic music for as long as music has been electronic - this sense still runs strongly through modern music technology academia. However, the use of hacked, modified or subverted obsolete technology - especially hardware-oriented applications - is something that is not so popular today in academic circles… we are all very good at looking forwards and never looking back. So perhaps in a sense there is a little sense of irony, or at least a sense of going against the grain.
LA: It's important to point out that your prominent use of otherwise obsolete and culturally era-specific thus nostalgic equipment does not represent a rejection of current audio technology, which in fact you constantly utilise and explore alongside the vintage models of - for example - Atari and Vectrex. Is this co-existence of old and new employed simply through a need to make various old interfaces compatible with contemporary technology while using their limitations as a structure for performance, or a need or desire to expand the language of musical expression through which you communicate to the public?
HV: We would have to say that the use of obsolete technology in our music and performances represents a need to use a different language of musical expression than what might be otherwise available, especially in the areas of timbre and texture. Technology from different eras has different characteristics and as a result different positive attributes. We don't see a need to exclude certain technologies based on their age or function but rather try to find a use for a range of different technologies in music performance.
In the chiptune community Lauren Tomczak and Sebastian Tomczak, as Hidden Village, are internationally recognized. They draw upon an eclectic collection of retro game consoles, such as the Atari 2600, Vectrex, the Sega Master System and Mega Drive, utilising recently developed sound software to create a performance duo. They endeavour to explore the use of relatively unconventional hardware and software in music making, such as the use of mobile phones as homebrew portable instruments and the construction of self-designed digital sequencing devices from scratch as performance.
Additionally, they have designed and implemented a number of physical interfaces for use in musical performance involving light and water as well as an interface for the Vectrex videogame console. They have performed at the Australian Computer Music Conference (2006), the Tyndall Assembly Concert Series (2007), and expanded to perform as Hidden City for the opening of the 2008 Adelaide Festival of Arts, alongside Stephen Whittington, Luke Harrald, Derek Pascoe and the Zephyr Quartet. The closing concert of AFUM 09 is one of Hidden Village’s major performances for 2009, and will feature a keyboard-controlled walkman-mellotron, singing bowls, and live VGA hacking.
Obviously, I had some questions to ask them ahead of this, beginning with a request for their definition of the under-represented art of Chiptune:
HV: Chiptune or chipmusic is the use of obsolete video game consoles and computers in music composition, production, and performance. The movement revolves around the use of sound chips. However, the meaning of the word has changed over time; originally, the term chiptune was used to describe a certain kind of Amiga music in the very late eighties and early nineties, so it was a very narrow use of the word.
Since then, the word has become broader in its application, and today includes music that was made using emulation, music that has its roots in inspiration (music that uses sounds that imitate sound chips rather than emulate), and music that uses traditional instrumentation to complement (or to be complemented by) chipmusic instrumentation. Currently, popular consoles and computers within the chipmusic scene include the Nintendo Game Boy, the NES, the Commodore 64, and the Amiga. However, a wide variety of consoles are in use today.
LA: Most activities of the growing international chiptune community are conducted online. Why are live performances so rare?
HV: Are live performances so rare? They are in Adelaide, but even in Melbourne and Sydney the numbers of concerts and shows featuring Game Boys and Nintendos are increasing. In the US, the UK and Europe, and parts of South-East Asia, live chipmusic performance is more common than here in Australia.
LA: Chiptune music, pervading areas of private entertainment otherwise closed to art music - namely computer and video games - has undeniable connotations of introverted escape. How do people respond to hearing this music in the context of a public concert in room full of strangers?
HV: The responses of people will undoubtedly change depending on the material that is presented as well as their own connection (if any) to these types of electronic sounds. For Hidden Village, chipmusic at its core represents an exploration of decontextualisation and an exploration of constraints - both technical and, as a result, timbral. So in this sense, it is hoped that people do no necessarily connect any feelings of nostalgia directly with our music but, rather, hear these sounds in a new light, in a new context.
LA: Do you perform as though playing a game, thus building a piece out of personal responses to unforeseeable dilemmas hidden from the audience, or do you largely compose pieces in advance with a focus on musical development in the more or less traditional sense?
HV: Our performances are a mix of through-composed music and improvisation in the sense that the structure and form of a work is not set but certain phrases and instrumentation are set beforehand. In our performance for the AFUM, we are combining aspects of chipmusic, live sampling, improvisation, and field recordings, with a healthy dose of humour and reflexivity, as well as some more serious minimalism.
LA: The late Tristram Cary was a pioneer of finding new musical uses for old electrical equipment - starting with discarded WWII navy surplus components - and also played a central role in the institutionalisation of electronic music in Australia. We now see Hidden Village taking a similar do-it-yourself approach as graduates of the Adelaide University's state-of-the-art Electronic Music Unit to which Cary contributed so much. Is this a consciously ironic reaction to the standards of academia or a warm acknowledgement and deep bow to your musical roots? Or both?
HV: I would have to say it's more of a deep bow to our musical roots. The use of DIY aesthetics and ideologies have been a part of electronic music for as long as music has been electronic - this sense still runs strongly through modern music technology academia. However, the use of hacked, modified or subverted obsolete technology - especially hardware-oriented applications - is something that is not so popular today in academic circles… we are all very good at looking forwards and never looking back. So perhaps in a sense there is a little sense of irony, or at least a sense of going against the grain.
LA: It's important to point out that your prominent use of otherwise obsolete and culturally era-specific thus nostalgic equipment does not represent a rejection of current audio technology, which in fact you constantly utilise and explore alongside the vintage models of - for example - Atari and Vectrex. Is this co-existence of old and new employed simply through a need to make various old interfaces compatible with contemporary technology while using their limitations as a structure for performance, or a need or desire to expand the language of musical expression through which you communicate to the public?
HV: We would have to say that the use of obsolete technology in our music and performances represents a need to use a different language of musical expression than what might be otherwise available, especially in the areas of timbre and texture. Technology from different eras has different characteristics and as a result different positive attributes. We don't see a need to exclude certain technologies based on their age or function but rather try to find a use for a range of different technologies in music performance.
Monday, March 30, 2009
Programme Announced for AFUM09
Adelaide Festival of Unpopular Music - AFUM 2009
April marks the end of the fourth year of musical activity at de la Catessen. To celebrate, a selection of musicians with a special emphasis on those working in Adelaide’s underground, experimental, and academic fields will present a series of concerts from April 12-23. The programme is as follows:
Sunday, April 12th, 3:30pm
Monday, April 13th, 6:30pm
$20/$15
ALEKSANDR TSIBOULSKI & JACOB CORDOVER
Classical Guitars
Five years after their intensive collaboration at the Banff Centre in Canada, two of Australia’s most gifted young guitarists come together for a one-off reunion tour across Australia. The versatile programme will feature solo sets, and duos, including the rarely heard contemporary virtuosic masterwork “Clocks” by American composer Joan Tower, Antonio Jose’s “Sonata”, and “Three Duets” by Australia’s own guru, Phillip Houghton.
Jacob Cordover resides in Barcelona, and this will be his first concert performance in Adelaide.
Monday, April 13th, 3pm $10/$8
DAVID KOTLOWY: prepared guitar, ruined piano, shakuhachi
ADE SUHARTO: dance
STEVEN KOTLOWY: bowed metallophones
Leading Adelaide composer David Kotlowy gives his final performance here before embarking for an extended stay in Japan as the 2008 recipient of the Bank of Tokyo-Mitsubishi Japan Travel Fund.
Tuesday, April 14th, 10pm $5
DEREK PASCOE
saxophone
Derek Pascoe is among the leading free improvisers in Adelaide, whose rigorous approach to musical self-discipline gives a profound assurance to his rare extended solo public performances.
Wednesday, April 15th, 8pm $5
JASON SWEENEY with Tristan Louth-Robins:
Panoptique Electrical
Panoptique Electrical is both an experimental studio project by Jason Sweeney and occasional collaborations with Zoë Barry, Jed Palmer, Tristan Louth-Robins (live performers) and Steve Phillips (Sensory Projects record label). Sweeney has been composing sound and music scores for live theatre, dance, film/video and installation projects since 1998. The first album Let The Darkness At You was released in 2008. The new album Yes to Fear, Yes to Desire will be released in July 2009 on Sensory Projects/Inertia Music.
Thursday, April 16th, 8pm FREE
CHRISTIAN HAINES
This performance by Christian Haines will an eclectic exploration of the mobile phone, Ligeti, failure aesthetics and the highly relevant amplification of the sound of ice melting.
Sunday, April 19th, 8pm $5
TRISTAN LOUTH-ROBINS
Using a combination of laptop, turntable and iPod, Tristan Louth-Robins (red_robin) creates live electro-acoustic improvisations of rich sonic textures interspersed with restrained melodic gestures and deviations.
Monday, April 20th, 8pm $5
MINIMAX
featuring
LUKE HARRALD - computers
DEREK PASCOE - saxophone
CHRIS MARTIN - piano
As a collaborative project between electronic music teacher Luke Harrald and the gestalt of the accomplished free-impro duo of Martin and Pascoe, MiniMax offers a complex live audio-visual performance.
Tuesday, April 21st, 8pm
BITCHES OF ZEUS
solo sets and trio by
DANIEL VARRICCHIO
PATRICK SARACINO
MOURGOS GRUND
Post-rock-logged sponges of musical performance practice: intuitive, unpredictable, uninhibited, confronting, self-taught, and psychedelic, Bitches of Zeus members Varricchio, Saracino, and Mourgos Grund offer sibylline commentary on unpop-culture.
Wednesday, April 22nd, 9pm
ADAM PAGE SOLO
Adam Page Solo is at the forefront of a new and unique style of performing, recording live instruments into loop pedals and spontaneously composing intricate grooves in many different styles. Primarily a Saxophone player, the instruments Page loops are as diverse as Bass, Keys, Percussion, Vocals, Tuvan Throat Singing, Beat Boxing, Guitar, Flute, Clarinet, Mbira (African Thumb Piano), Didgeridoo and Nose Flute in styles ranging from Funk, Tango and Punjabi to Classical, Jazz and Metal. He has even dabbled in playing drilled out vegetables.
Thursday, April 23rd, 7:30pm
HIDDEN VILLAGE
As Hidden Village, Lauren Tomczak and Sebastian Tomczak are internationally recognised musicians of the online chiptune community. They draw upon an eclectic collection of retro game consoles, such as the Atari 2600, Commodore 64, Vectrex and original Gameboy, utilising recently developed sound software to create a performance duo. They endeavour to explore the use of relatively unconventional hardware and software in music making, such as the use of mobile phones as homebrew portable instruments and the construction of self-designed digital sequencing devices from scratch as performance.
Additionally, they have designed and implemented a number of physical interfaces for use in musical performance involving light and water as well as an interface for the Vectrex videogame console. They have performed at the Australian Computer Music Conference (2006), the Tyndall Assembly Concert Series (2007), and expanded to perform as Hidden City for the opening of the 2008 Adelaide Festival of Arts, alongside Stephen Whittington, Luke Harrald, Derek Pascoe and the Zephyr Quartet.
The closing concert of AFUM is one of Hidden Village’s major performances for 2009, and will feature a keyboard controlled walkman-mellotron, singing bowls, and live VGA hacking.
April marks the end of the fourth year of musical activity at de la Catessen. To celebrate, a selection of musicians with a special emphasis on those working in Adelaide’s underground, experimental, and academic fields will present a series of concerts from April 12-23. The programme is as follows:
Sunday, April 12th, 3:30pm
Monday, April 13th, 6:30pm
$20/$15
ALEKSANDR TSIBOULSKI & JACOB CORDOVER
Classical Guitars
Five years after their intensive collaboration at the Banff Centre in Canada, two of Australia’s most gifted young guitarists come together for a one-off reunion tour across Australia. The versatile programme will feature solo sets, and duos, including the rarely heard contemporary virtuosic masterwork “Clocks” by American composer Joan Tower, Antonio Jose’s “Sonata”, and “Three Duets” by Australia’s own guru, Phillip Houghton.
Jacob Cordover resides in Barcelona, and this will be his first concert performance in Adelaide.
Monday, April 13th, 3pm $10/$8
DAVID KOTLOWY: prepared guitar, ruined piano, shakuhachi
ADE SUHARTO: dance
STEVEN KOTLOWY: bowed metallophones
Leading Adelaide composer David Kotlowy gives his final performance here before embarking for an extended stay in Japan as the 2008 recipient of the Bank of Tokyo-Mitsubishi Japan Travel Fund.
Tuesday, April 14th, 10pm $5
DEREK PASCOE
saxophone
Derek Pascoe is among the leading free improvisers in Adelaide, whose rigorous approach to musical self-discipline gives a profound assurance to his rare extended solo public performances.
Wednesday, April 15th, 8pm $5
JASON SWEENEY with Tristan Louth-Robins:
Panoptique Electrical
Panoptique Electrical is both an experimental studio project by Jason Sweeney and occasional collaborations with Zoë Barry, Jed Palmer, Tristan Louth-Robins (live performers) and Steve Phillips (Sensory Projects record label). Sweeney has been composing sound and music scores for live theatre, dance, film/video and installation projects since 1998. The first album Let The Darkness At You was released in 2008. The new album Yes to Fear, Yes to Desire will be released in July 2009 on Sensory Projects/Inertia Music.
Thursday, April 16th, 8pm FREE
CHRISTIAN HAINES
This performance by Christian Haines will an eclectic exploration of the mobile phone, Ligeti, failure aesthetics and the highly relevant amplification of the sound of ice melting.
Sunday, April 19th, 8pm $5
TRISTAN LOUTH-ROBINS
Using a combination of laptop, turntable and iPod, Tristan Louth-Robins (red_robin) creates live electro-acoustic improvisations of rich sonic textures interspersed with restrained melodic gestures and deviations.
Monday, April 20th, 8pm $5
MINIMAX
featuring
LUKE HARRALD - computers
DEREK PASCOE - saxophone
CHRIS MARTIN - piano
As a collaborative project between electronic music teacher Luke Harrald and the gestalt of the accomplished free-impro duo of Martin and Pascoe, MiniMax offers a complex live audio-visual performance.
Tuesday, April 21st, 8pm
BITCHES OF ZEUS
solo sets and trio by
DANIEL VARRICCHIO
PATRICK SARACINO
MOURGOS GRUND
Post-rock-logged sponges of musical performance practice: intuitive, unpredictable, uninhibited, confronting, self-taught, and psychedelic, Bitches of Zeus members Varricchio, Saracino, and Mourgos Grund offer sibylline commentary on unpop-culture.
Wednesday, April 22nd, 9pm
ADAM PAGE SOLO
Adam Page Solo is at the forefront of a new and unique style of performing, recording live instruments into loop pedals and spontaneously composing intricate grooves in many different styles. Primarily a Saxophone player, the instruments Page loops are as diverse as Bass, Keys, Percussion, Vocals, Tuvan Throat Singing, Beat Boxing, Guitar, Flute, Clarinet, Mbira (African Thumb Piano), Didgeridoo and Nose Flute in styles ranging from Funk, Tango and Punjabi to Classical, Jazz and Metal. He has even dabbled in playing drilled out vegetables.
Thursday, April 23rd, 7:30pm
HIDDEN VILLAGE
As Hidden Village, Lauren Tomczak and Sebastian Tomczak are internationally recognised musicians of the online chiptune community. They draw upon an eclectic collection of retro game consoles, such as the Atari 2600, Commodore 64, Vectrex and original Gameboy, utilising recently developed sound software to create a performance duo. They endeavour to explore the use of relatively unconventional hardware and software in music making, such as the use of mobile phones as homebrew portable instruments and the construction of self-designed digital sequencing devices from scratch as performance.
Additionally, they have designed and implemented a number of physical interfaces for use in musical performance involving light and water as well as an interface for the Vectrex videogame console. They have performed at the Australian Computer Music Conference (2006), the Tyndall Assembly Concert Series (2007), and expanded to perform as Hidden City for the opening of the 2008 Adelaide Festival of Arts, alongside Stephen Whittington, Luke Harrald, Derek Pascoe and the Zephyr Quartet.
The closing concert of AFUM is one of Hidden Village’s major performances for 2009, and will feature a keyboard controlled walkman-mellotron, singing bowls, and live VGA hacking.
Saturday, February 28, 2009
Hidden Village @ The Festival of Unpopular Music (23.04.2009)
Hidden Village (Cloud Sparrow and little-scale) are playing for an evening as part of the 5th Festival of Unpopular Music. We will be running an array of Sega Master Systems (hopefully at least four), as well as keyboard-controlled cassette machines, circuit bent toys and gamelan wind chimes, and probably more.
If anyone is in Adelaide (Jacko and Freezedream, I'm looking you) you are expected to attend because it will be one of the main shows that Hidden Village will be playing at in 2009.
DETAILS:
Date: April 23rd, 2009
Time: 7.30 PM onwards
Cost: TBA
Venue: De La Catessen Gallery, Anster Street, Adelaide.
Be there and be square.
Still early days for this show, more details TBA as well.
If anyone is in Adelaide (Jacko and Freezedream, I'm looking you) you are expected to attend because it will be one of the main shows that Hidden Village will be playing at in 2009.
DETAILS:
Date: April 23rd, 2009
Time: 7.30 PM onwards
Cost: TBA
Venue: De La Catessen Gallery, Anster Street, Adelaide.
Be there and be square.
Still early days for this show, more details TBA as well.
Monday, November 10, 2008
Nanoloop 2008 Compilation
"OUT FINALLY!
with 22 tracks from (among others): Glomag, Bit Shifter, nordloef, Big-Chip, Zombectro, Albino Ghost Monkey, Je Deviens DJ en 3 Jours, (and Hidden Village might *I* add) etc. etc.
multiple versions of the artwork are available, so print which ever you prefer... cover 7 designed by JDDJ3J, the rest by e.s.c."
Download it here: http://www.soundcollapse.org/nanoloop/nanoloop2008.zip
Friday, October 31, 2008
Monday, October 13, 2008
Sound Bytes Show in Melbourne this Friday
Hidden Village is playing this Friday at the Bunker Lounge in Melbourne. I will also be doing a solo set. 8PM onwards.
Monday, October 06, 2008
Hidden Village Pics from Electrofringe
Please note that if anyone is in one of these images and they would like the image removed from here, please let me know.
You can download our EP here.
Things that we did during the workshop:
- circuit bending very cheap toys using pots, LDRs, capacitors and the human body
- a basic digital logic sequencing / synthesis demo
- introduction to little sound dj, a game boy music program written by Johan Kotlinksi
- the underclocking of game boys, as presented by Gieskes and first pioneered by Kbud
Things that we spoke about during the presentation:
- Music for Two Desklamps
- Atari Christmas Lights
- Black Dog, White Dog
- Imaginary Menagerie
- 24 Points of Articulation
- The Starmaker EP
- Sega Mega Drive Interfacing
- Sync Devices
- Printer Drum Machines
- Vectrex Interfacing
- Tape-o-tron
- Sega Master System
- Toriton (Water Music)
Workshop:
Presentation:
You can download our EP here.
Things that we did during the workshop:
- circuit bending very cheap toys using pots, LDRs, capacitors and the human body
- a basic digital logic sequencing / synthesis demo
- introduction to little sound dj, a game boy music program written by Johan Kotlinksi
- the underclocking of game boys, as presented by Gieskes and first pioneered by Kbud
Things that we spoke about during the presentation:
- Music for Two Desklamps
- Atari Christmas Lights
- Black Dog, White Dog
- Imaginary Menagerie
- 24 Points of Articulation
- The Starmaker EP
- Sega Mega Drive Interfacing
- Sync Devices
- Printer Drum Machines
- Vectrex Interfacing
- Tape-o-tron
- Sega Master System
- Toriton (Water Music)
Workshop:
Presentation:
Wednesday, October 01, 2008
Monday, September 22, 2008
Sunday, September 07, 2008
Electrofringe 2008 Program is out
Monday, July 21, 2008
1000 Years of Change (48hr 8BC Challenge)
We have now finished and uploaded our 48hr challenge track.
The title of the track is "1000 Years of Change".
You can download it here.
For those that care, here is a list of the hardware that we used. Apart from some light mastering processes (not including equalisation) and volume automation, no effects whatsoever were used.
• Sega Master System 1 (SN76489 and YM2413)
• Sega Master System 1 (SN76489 and YM2413)
• Game Boy
• NES
• NES
• Atari 2600
• Atari 2600
• Game Boy Advance
• Commodore 64
We have now issued our own challenge.
little-scale (21 July 2008):
"We hereby challenge
• Derris-Kharlan
to
• Write a theme for marshmallows.
• The track must be at least one point four minutes long in total (this equals eighty-four seconds).
• The track can be for either white and / or pink marshmallows but no other colours."
The title of the track is "1000 Years of Change".
You can download it here.
For those that care, here is a list of the hardware that we used. Apart from some light mastering processes (not including equalisation) and volume automation, no effects whatsoever were used.
• Sega Master System 1 (SN76489 and YM2413)
• Sega Master System 1 (SN76489 and YM2413)
• Game Boy
• NES
• NES
• Atari 2600
• Atari 2600
• Game Boy Advance
• Commodore 64
We have now issued our own challenge.
little-scale (21 July 2008):
"We hereby challenge
• Derris-Kharlan
to
• Write a theme for marshmallows.
• The track must be at least one point four minutes long in total (this equals eighty-four seconds).
• The track can be for either white and / or pink marshmallows but no other colours."
Saturday, July 19, 2008
Hidden Village Accepts 48hr 8BC Challenge
There is a 48hr Challenge thread on 8BC.
Slorrin (2 January 2008): "On the Prophet 64 forums I used to head a 48 hour challenge. it's like a chain letter. I challenge someone with a phrase, then they write a song with that phrase or idea in mind, in 48 hours, and post it online. Then they challenge someone, and so on.
After 2 weeks, you have 7 songs, you zip them, and release them for free online as an album called "48 hour challenge album !"
and do this over and over.
The idea is to challenge people to do something they would normally never do. Something out of their normal style. Maybe on software they dont' normally use. Someone who you like and think rules, you challenge to do something to help them push their boundaries."
10k (19 July 2008): "I challenge Hidden Village (little-scale & cloud sparrow) to write a song with no percussive sounds, just big phat chords and melody lines. It must go for at least 3 minutes (I suggest people give time restrictions after my effort) and be the title track of your next EP (hint, hint)."
Cloud Sparrow (19 July 2008): "We of hidden village accept this challenge.
We of hidden village will begin at 9AM tomorrow morning."
Slorrin (2 January 2008): "On the Prophet 64 forums I used to head a 48 hour challenge. it's like a chain letter. I challenge someone with a phrase, then they write a song with that phrase or idea in mind, in 48 hours, and post it online. Then they challenge someone, and so on.
After 2 weeks, you have 7 songs, you zip them, and release them for free online as an album called "48 hour challenge album !"
and do this over and over.
The idea is to challenge people to do something they would normally never do. Something out of their normal style. Maybe on software they dont' normally use. Someone who you like and think rules, you challenge to do something to help them push their boundaries."
10k (19 July 2008): "I challenge Hidden Village (little-scale & cloud sparrow) to write a song with no percussive sounds, just big phat chords and melody lines. It must go for at least 3 minutes (I suggest people give time restrictions after my effort) and be the title track of your next EP (hint, hint)."
Cloud Sparrow (19 July 2008): "We of hidden village accept this challenge.
We of hidden village will begin at 9AM tomorrow morning."
Sunday, July 13, 2008
Hidden Village at Electrofringe
Lauren and I are presenting, performing and workshopping at this years Electrofringe in Newcastle.
Workshop: 2PM, Friday 3rd October, 2008
Presentation and performance: 1PM, Saturday 4th October, 2008
Workshop: 2PM, Friday 3rd October, 2008
Presentation and performance: 1PM, Saturday 4th October, 2008
Monday, May 12, 2008
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