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Preparing a live with experimental noise instruments, I asked Franck Smith some advices to help me make the right choices…

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Hello Tristan… sounds great… so, one thing is sure : B plans (prepared stuffs) are always useful for solo performances…

what I can suggest (I’m working — more or less — according these personal precepts) =

* 1- position of the machines on the table = reading direction = main grid (could be also synonymous of a possible synopsis)

* 2- telling a story = making dialog/monolog between the machines (a story could also involve just one machine — speaking with itself via dialogs of its own parameters/functions)

* 3- main structure = choice of circulation in the main grid (circulation includes « stops »)

* 4- links between each sub-stories/paragraphs/parts = prepared material and/or interaction (then) reaction between multiple elements of « active » material

and (ask yourself) :

- do you prefer A: 1 machine making 10 sounds OR B: 10 machines making 1 sound??? (if A: are you able to combine multiple of these machines???)

- do you play A: « for » the audience OR B: do you DISplay something that could eventually (but not necessary) be « against » the audience??? (if B: your choices have to be very clear and  the structure very concise/precise)

notice that :

- finding a title + subtitle (that sum-up/illustrates your world and preoccupation) could be useful for you and for the audience…

- a very short (and simple) spoken presentation (by yourself) is often a good start before playing (it’s according to you)…

… if you play 2 times :

- 40mn solo performance

- 20mn in collab w/ someone of the school (your brother?) could be nice…

I hope this will help to build your own live set and find some personal solutions/anwers for your music in public… Is there anything unclear in the previous lines???

Cheers!

F.

• Official site & discographic works http://www.odiolorgnette.com

Appel à candidature / Atelier de création radiophonique – Au fil des ondes… – France Culture.

L’objet de cet appel est de recueillir les candidatures d’artistes plasticiens souhaitant proposer un projet sonore dans le cadre de cette procédure de commande publique.

Les critères d’évaluation et d’appréciation des candidatures seront les suivants :

1 – Inscription de l’œuvre de l’artiste dans le champ de l’art contemporain et des arts plastiques ou visuels en particulier,

2 – Pertinence du projet envisagé au regard des enjeux du son et de la radiodiffusion,

3 – Possibilités de présentation de l’œuvre hors du contexte radiophonique.

A Sound A Day For A Year Using My Nord Modular.

Great project by Martin J Thomson from mimosamoize

http://www.mimosamoize.com/

Martin publishes a sound a day using amazing synth made by Clavia. The Nord Modular G1 (first edition, sought after for his organic sound compared to his younger brother the G2).

Musikgear is honored that Martin took a picture from Tristan Héau’s collection on Facebook. To hear the sound click on SND29 (mp3).

MaCu is the musically project of the Austrian based artist Susanne Hafenscher. Trained as classical pianist and guitarist, her interests changed to more abstract and electronic music, after the discovering the fascinating works of the composers of microtonal, serial and minimal music.

viaMaCu.

Susanne Hafenscher ? Go there :

http://the-questionnaire.blogspot.com/2010/06/susanne-hafenscher-macu.html