Re: fwd: New CD


Subject: Re: fwd: New CD
From: Lawrence Casserley (leo@chiltern.demon.co.uk)
Date: Thu May 13 1999 - 05:39:42 EDT


Darren copeland wrote:

>This Evan Parker sounds interesting. Lawrence, can you give us some idea of
>the interaction taking place between the live electronics folks and the rest
>of the group?

This is very much a seven piece improvising band - we work very much as
equal partners. The excellent discussion by Simon Emmerson on the CD
covers a lot of this well. There is also a worthwhile page on the group
on the ECM website at: www.mediapolis.com/ecm-cgi-bin/background?1693

A good idea of my own approach to improvising with live processing can be
found in my article for the Journal of Electroacoustic Music, Vol 11.
This is reproduced on my website at:
www.chiltern.demon.co.uk/DSP_Inst.html. The others work differently, but
I think the way we compliment each other is one of the strengths of the
group. It is a complex technical setup, too, because all the signal
sources need to be available to all the processors (four including Phil
Wacchsmann, who processes others as well as his own violin/viola sound).

Working with this band is an intense, exhausting, and ultimately
exhilarating experience. Essentially, the interaction between live
electronics and instruments is very close to the interaction between
instruments. To quote SE quoting me(!): " 'I'm trying to be like one of
the instrumentalists, only playing sound _processors_ rather than
sounds'. He sees all ensemble members' roles as centred around the idea
of 'going further in the exploration of rich sonic possibilities'." The
incredible range of sounds and playing techniques available from players
like Parker, Guy and Lytton further enhances this feeling.

To summarise the way the electronics work (very briefly!): I generate no
sounds myself, and my only storage is a 37 second delay line (on ISPW
and/or MAX/msp on Mac G3) - so I am always working with the very recent
past, responding immediately to what I hear and thowing my
transformations straight back into the ring (this is very much the same
as I the way I worked with Parker on "Solar Wind"). Walter uses his Mars
Workstation as a super sampler, picking things up on the fly and using
the material to build larger paragraphs of sound. Marco works with more
conventional processors (eg Lexicon), but he also has the crucial role of
mixing and balancing "the often overwhelming amount of information from
the other performers" (SE again). These different approaches allow us to
occupy different 'spaces' in the overall sound - much the same as the
Violin, Bass, Sax and Percussion do.

I'd better stop before this gets too much like a review of my own
record!!!! But you did ask! :-)>

I'll be happy to answer futher questions privately.

Cheers

Lawrence

--
Lawrence Electronic Operations - Tel +44 1494 481381 - FAX +44 1494 481454
Signal Processing for Contemporary Music - email leo@chiltern.demon.co.uk
http://www.chiltern.demon.co.uk



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