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Dendriet is a network of musicians in The Hague (.nl) that perform with networked electronic and acoustic instruments. The word dendriet, or dendrite, is also the name for the receptors of a nervecell. Dendrites are typically branching branches. You'll find these fractal shapes in ice, in metal chrystals in limestone, and likewise, in our performance setups. Please do check out our homepage by clicking the stone. You too are invited to join the discussions.
28.2.05
A cool tv scope
Random analogue Sequencer Melody
The following three examples were synthesized using Ernst's Doepfer a100 system. The sequencer module (a155) and the sequencer controller (a154) were used in this experiment. The recordings are straight from the system, so no overdubs (only some editing, courtesy of Dave). The patchers were: Dave Krooshof and Ernst van der Loo.
The whole thing started when Dave and Ernst found out that the manual knob on the a154 could be set just in between two settings.
Thus creating semi-random possiblities. This was too cool to ignore!
A melody was formed from 8 tones, all tuned to a single rootnote. The tuning was pythagorian, though Dave tempered the second and the sixth. The sixth is tuned very jazzy, and this colours the scale. The rootnote was later transformed into a bassline. A random noise burst was added as an accent. There is a tempo in this music, but no metre. Or you could say this music has a random bar length. The melody was played by randomly choosing notes from the scale. We choose three different kinds of random:
'Cage' random:
the previous notes that have been played are not taken into account when choosing the next one. "PAST PERFORMANCE IS NO GUARANTEE OF FUTURE RESULTS". The fact that a tone can be repeated several times in a row, and the jumpiness of the melody are both typical characteristics of really random melodies. The melody may jump to any note at any time (including jumping to itself).
'Bach' random:
the sequence may step up and down through the scale as it will, and the stepping direction is switched at random moments. The stepsize is either -1 or 1. So, notes are not repeated twice in a row, and the jumpiness is limited to 1 step up or down. This sounds a bit Bachy to Dave. It's sometimes referred to as Brownian noise (not to be confused with the brownnoise, which is 93 cents below the low E-flat).
'Coltrane' random:
This is also a form of limited randomness. The sequence will keep stepping up or down, but it it may jump to random notes at random times. After such a jump, the sequence may continue stepping either up or down at will. Occasionally, a note is repeated. Jumpiness is limited a bit, as the melody may not jump to any note at any time. Like in jazz, it jumps out of boundaries from time to time, but the madness is limited by style.
Please note that these examples are just some silly experiment we did to get to know the possibilities of the Doepfer a154/a155 sequencer modules combination. It is here because we think it is an interesting show of what these machines can do. However it does not reflect the music made by members of the Dendriet network. See it as our 'random with sequencer' workshop...
Dave and Ernst
The whole thing started when Dave and Ernst found out that the manual knob on the a154 could be set just in between two settings.
Thus creating semi-random possiblities. This was too cool to ignore!
A melody was formed from 8 tones, all tuned to a single rootnote. The tuning was pythagorian, though Dave tempered the second and the sixth. The sixth is tuned very jazzy, and this colours the scale. The rootnote was later transformed into a bassline. A random noise burst was added as an accent. There is a tempo in this music, but no metre. Or you could say this music has a random bar length. The melody was played by randomly choosing notes from the scale. We choose three different kinds of random:
'Cage' random:
the previous notes that have been played are not taken into account when choosing the next one. "PAST PERFORMANCE IS NO GUARANTEE OF FUTURE RESULTS". The fact that a tone can be repeated several times in a row, and the jumpiness of the melody are both typical characteristics of really random melodies. The melody may jump to any note at any time (including jumping to itself).
'Bach' random:
the sequence may step up and down through the scale as it will, and the stepping direction is switched at random moments. The stepsize is either -1 or 1. So, notes are not repeated twice in a row, and the jumpiness is limited to 1 step up or down. This sounds a bit Bachy to Dave. It's sometimes referred to as Brownian noise (not to be confused with the brownnoise, which is 93 cents below the low E-flat).
'Coltrane' random:
This is also a form of limited randomness. The sequence will keep stepping up or down, but it it may jump to random notes at random times. After such a jump, the sequence may continue stepping either up or down at will. Occasionally, a note is repeated. Jumpiness is limited a bit, as the melody may not jump to any note at any time. Like in jazz, it jumps out of boundaries from time to time, but the madness is limited by style.
Please note that these examples are just some silly experiment we did to get to know the possibilities of the Doepfer a154/a155 sequencer modules combination. It is here because we think it is an interesting show of what these machines can do. However it does not reflect the music made by members of the Dendriet network. See it as our 'random with sequencer' workshop...
Dave and Ernst
23.2.05
touch @ tag 2
24.02.05
doors open 20:00 / concert begins 20:30
entry 5 euro / streamed live at www.tag004.nl
touch is a new Thursday night concert series curated by Keir Neuringer for tag, with a focus on hands-on and creative approaches to music making. The second installment features Klang, a Hague-based new music ensemble, and WA9440 (a.k.a. Sei Matsumura) manipulating self-designed software.
doors open 20:00 / concert begins 20:30
entry 5 euro / streamed live at www.tag004.nl
touch is a new Thursday night concert series curated by Keir Neuringer for tag, with a focus on hands-on and creative approaches to music making. The second installment features Klang, a Hague-based new music ensemble, and WA9440 (a.k.a. Sei Matsumura) manipulating self-designed software.
10.2.05
reSort off presents Live Cinema with Optical Machines and Sp.Oc
Maurits Fennis and Léon (currently working together as Sp.Oc) will be presenting their newest project Grains. It currently looks and sounds nothing like that movie anymore, it's better!
Come and see us (and Optical Machines) at one of these places in time:
Monday 14/2 -> Kraakgeluiden, Amsterdam
Tuesday 15/2 -> WORM@De Unie, Rotterdam
Wednesday 16/2 -> Klub Koe, Den Bosch
Thursday 17/2 -> <tag>, Den Haag
Friday 18/2 -> Extrapool, Nijmegen
Come and see us (and Optical Machines) at one of these places in time:
Monday 14/2 -> Kraakgeluiden, Amsterdam
Tuesday 15/2 -> WORM@De Unie, Rotterdam
Wednesday 16/2 -> Klub Koe, Den Bosch
Thursday 17/2 -> <tag>, Den Haag
Friday 18/2 -> Extrapool, Nijmegen
9.2.05
Pioneers of Electronic Music
The Barrons were definately pioneers, but for sure were not the parents of electronic music. Nice detail: They got a tapemachine as a wedding present 1948, which must have been an absolute novelty then.
8.2.05
Dave live in TAC
Wednessday, I'm gonna take my Electric Tuba and my Dope Synth (with apples for fruitpower) to TAC in Eindhoven, to do a session with Pierre Bastien (mecano) and Stefan Robbers (techno), among others. Citytv.nl will stream the session live.
The venue is near the PSV Stadium. Kick Off at 21.00
The venue is near the PSV Stadium. Kick Off at 21.00
6.2.05
Live Video Reality
I'm always of the opinion that a new medium that you introduce in a performance should tell a part of the story that could otherwise not be expressed. If I am at -say- a U2 concert, and Bono is beamed on a huge screen, the that would make me realize that the real Bono is small and very far away from me. This mistake is made in a lot of dance pieces. They just echo the dancers. U2 got over it, they display different information on the screens.
It's much like the Greek felt about tragedies, where there was an unity in space and time, and information from different times and other places were brought in by a messenger entering the room.
That information comming from the screen could be as simple as an angle to look at things. Students in the modern department were using a camera during a dance. It didn't work during the rehearsals, until they boiled it down to just that: the angle. They beamed the camera image on the horizon, and the camera was on the left side. This way each of the three dancers had 3 'variants':
The real view on the dancer,
The view from the side behind that, bigger then life size.
The sillouet of the dancer, the shade on the screen.
Simple, yet the extra information was very interesting, even to me.
But it would be utterly cool, if you projection showed different objects then real life. I came across a boring video on the web, that should have been very cool when it was rendered live, as the projection shows different objects then the reality version. Czech it out!
It's much like the Greek felt about tragedies, where there was an unity in space and time, and information from different times and other places were brought in by a messenger entering the room.
That information comming from the screen could be as simple as an angle to look at things. Students in the modern department were using a camera during a dance. It didn't work during the rehearsals, until they boiled it down to just that: the angle. They beamed the camera image on the horizon, and the camera was on the left side. This way each of the three dancers had 3 'variants':
The real view on the dancer,
The view from the side behind that, bigger then life size.
The sillouet of the dancer, the shade on the screen.
Simple, yet the extra information was very interesting, even to me.
But it would be utterly cool, if you projection showed different objects then real life. I came across a boring video on the web, that should have been very cool when it was rendered live, as the projection shows different objects then the reality version. Czech it out!
4.2.05
Behavioral studies of circuits.
"Mimicking those experiments done to animals to put them into a state of stress, we would do basically the same things to these circuits, and you could hear them literally shrieking! It was like they were alive, and with a lifespan of their own."
2.2.05
For Ernst
