Gleetchlab 4 soon in Beta Test

 

 

 

 

 

 

 

 

 

 

 

 

 

Good news folks!
Gleetchlab4 is almost ready to be beta tested (not public).

Public release should happen between mid november and 1st december. I’m finishing new exciting modules.
You are going to love it!

 

Enjoy a sample from the Data Player module

Ideale: score for electronic and acoustical instruments

At this URL you can download my score “Ideale” for electronic and acoustical instruments.
You are all invited to send me recorded performances of this piece :)

https://drive.google.com/file/d/0B0iE_CqVbAs0dlhWTDhwSzZzNVU/view?usp=sharing

 

 

 

Responsorio Meccanico by Massimiliano Viel

 

 

 

 

 

 

 

 

 

 

 

 

Very happy to announce that the Reihe Laptop Ensemble will perform with Ensemble Sinestesia of GMI a piece by Massimilano Viel at the Museum of Science and Technology of Milan on Sunday June 11th:
The Responsorio Meccanico, for seven computers, seven brass and soprano voice.

Shows start at 15:00, 16:00 and 17:00 local time.
Price of 10€ includes the museum ticket.

A production by GMI and AGON

 

 

Ten computers for the stars: the Reihe Laptop Ensemble

I’m glad to announce that the Reihe Laptop Ensemble will perform on December 3rd, 2016, at Teatro Arsenale of Milan, at the Contemporary Music Hub day.

The piece is part of my research at AGON on modal synthesis which I have presented
with M° Michele Tadini at the Prisma Meeting in Paris ( @IRCAM ) on July 2016 in collaboration with
the students of my Sound Design courses at SAE Institute of Milan.

Constellation is a performance for an ensemble of 10 laptop computers and use a star map as a music score. On the map, stars, clusters, galaxies, nebulas and pulsars are voiced with a sound, and every musician writes his/her own constellations on the screen. A walkthrough in the sky.

The milky way then sings with watery bubbles, the pulsars make short bursts and the fire of the stars became an ever-changing resonance. Like tiny actors in the sky, the objects of the firmament take life and paint an organic soundscape with infinite variations, all around the listener which lies in a completely dark space.

The sound of the celestial bodies is created and processed in realtime, with the Three Axis Modal Synthesis (TAMS) creating virtual acoustic instruments made of precious gems and metals like sapphire, ruby, gold, platinum, silver, beryl, diamond…

Constellation is compelling work of sound that brings the listeners into the vastness of Cosmos.

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Laptop Ensemble: Constellation

Andrea Cerrato
Luca Cozzi
Nazareno De Luca
Eric Guizzo
Marco Miduri
Marco Neridetti
Lorenzo Rinaldi
Marcello Sodano
Giacomo Somaruga
Luca Pagan

Written and directed by
Giorgio Sancristoforo

Produced by AGON
In collaboration with SAE institute
and kindly supported by SIAE Classici di Oggi

 

 

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Triple Axis Modal Synthesis

Presentation by Giorgio Sancristoforo and Michele Tadini
July 12th 10.00 AM IRCAM Centre Pompidou @ Prisma Meeting

With the contribution of the Reihe Laptop Ensemble musicians and SAE Institute Italy:

Marcello Sodano
Luca Pagan
Marco Neridetti
Eric Guizzo
Pietro Scialanga

 

Downloadable Aiff file + 10 pages pdf booklet from the band camp site

We are entering in a new era of sounds.

As multiphysics engineering softwares become more and more accessible and the personal computer gained the necessary power to run physics simulations at home, we’ve found a new meaning to the words sculpting sound. To the musician, until some time ago, not so many resources were available in the field of modal synthesis. They were almost all commercial products with a limited choice of models and materials. On top of that, polyphony was a serious issue. Due to intense calculations running in background, one could expect to run a maximum of 3, 4 voices at once.
But the point is that it’s not that interesting to just “strike a plate”.

What about the shape of the plate? Is it round or hexagonal? Is it made of glass, stone or plastic? If it’s metal, what sort of metal? Platinum? Palladium? Aluminium or chrome plated steel?

What if I want to design my own shapes? What’s the sound of a 30cm long and 1.2mm thick swirling tube made of glass connected to a thin platinum semi-sphere? What is the sound of a glass cello, plucked by water? What’s the sound of a gold heart-shaped box caressed by feathers? With the aid of computer modelling, an universe of new instruments is unfolding in front of our eyes, and the possibilities are endless.

As the listener enters for the first time in this world, it will take a few seconds for him to realise the striking realism of this sounds. The advantage of modelling sound sources with resonators lies not only in its semplicity, but also in its capability of creating hyper-realistic frequency and dynamic responses.
Since the modal system of synthesis requires just two basic elements: a resonator and an exciter, we can use any kind of sound as an exciter. Not only we can create it synthetically, but most imporantly, we can use real acoustical sources, from contact or aerial microphones or files.
A contact microphone attached on a wooden plate can drive a polyphonic metal model with such realism (both in sound produced and gesture made by the performer) that it is not distinguishable from a real acoustical instrument. And we can even go further by pre-processing exciters sounds with other well-known techniques, such as granular synthesis to look for more radical sounds..

Realism, however, here has only a functional role, rather than aesthetical.
The aim of this research is to create surrealistic instruments, impossible, or immensely hard to build and mise en oeuvre such as platinum, diamond, beryl, sapphire and plutonium resonators.

Physical modelling of course is not new, but new software tools bloomed during these years, thanks to research done in aerospace and building industries. These softwares create an essential bridge to set the foundamentals for a new form of numerical lutherie…

Also read:
http://music.columbia.edu/cmc/courses/g6610/fall2011/week11/modalpaper.pdfa b

 

 

Tableau Generative Album

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There is no doubt that, as music is removed by the phonograph
record from the realm of live production and from the imperative of
artistic activity and becomes petrified, it absorbs into itself, in this process of petrification, the very life that would otherwise vanish.

Theodore Adorno “The form of the Phonograph Record”

I’ve been dreaming a lot of portable micro computers to create a generative music album. Now this is finally a reality here is my first PGLP (Portable Generative LP) called “Tableau“.

Generative endless music player
Tableau plays on a standalone generative player, it is a portable sound installation.
The music, instead of being “reproduced” like a CD, a vinyl or an Mp3, it is generated and arranged while you are listening to it. It never sounds the same.
Tableau creates an almost endless number of mixes of the LP (4 x 12! factorial). Each time you will listen, it will be different, and will keep evolving evolving until you will plug the power off.

It reacts to the environment
The music of Tableau reacts to temperature, humidity, atmospheric pressure, space and magnetic field.

No need for screen, keyboards, mouse etc…
To listen to Tableau just plug the power supply and your speakers with a mini-jack cable, Tableau will boot and play the LP. You can also use a standard 2A, 5V battery pack for mobile phones so you can carry Tableau with you anytime, anywhere.

It’s a Raspberry Pi2!
If you love to code, you can use your own micro SD card and run Raspbian OS (downloadable for free from the Raspberry website) to make anything you want with it. Connect a keyboard, a HDMI monitor and a mouse and you have a fully functional Linux computer with 1Ghz quadri-processor, 1Gb Ram and as much disk space as it is your SD card. And since the PGLP includes the Astro-Pi Sense Hat (now on the ISS space station!), you get a wonderful 8×8 led matrix and a load of sensors to work with :)

Sorry the PGLP is SOLD OUT

 

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Performance: Music for Maya Deren

Music for Maya Deren

Mercoledì 30 Settembre 2015 @ Tempo Reale

Limonaia di Villa Strozzi, via Pisana 77, Firenze

Performance video-musicale

AGON, 2011
progetto, musica, computer live electronics Giorgio Sancristoforo
regia del suono Massimo Marchi

Influenzati dal surrealismo e dalla danza, i film di Maya Deren invitano a cogliere “l’altra realtà”, lo spazio psichico, gli ambienti nascosti della mente. Un cinema onirico, visionario e antinarrativo, in cui il tempo è quello del ritmo della visione e del sogno.

Music for Maya Deren è il secondo capitolo dei Realtime Film Scores, una serie di performance musicali dedicate al cinema sperimentale americano, in cui la colonna sonora viene composta ed eseguita dal vivo, attraverso strumenti musicali elettronici.

 

Maya Deren (Kiev 1917-New York 1961) è stata una regista, documentarista, coreografa e poetessa, attiva negli anni quaranta e cinquanta del ventesimo secolo.

Madre del ciné-dance film, le sue opere sono tra le più influenti della storia del cinema americano.

  • Ritual in Transfigured Time (1946) con Maya Deren, Rita Christiani, Frank Westbrook e Anaïs Nin
  • At Land (1944) con Maya Deren, Alexander Hammid, John Cage e Parker Tyler

INFO

Limonaia di Villa Strozzi – via Pisana 77, Firenze

Tempo Reale

tel. 055 717270

prenotazioni@temporeale.it

www.temporeale.it

Tempo Reale Festival 2015 – REWIND. Musiche non lineari (26 settembre-10 ottobre 2015)

biglietto unico €5,00 per la serata Klang / Musica Sperimentale #2

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cronologia delle esecuzioni

29 ottobre 2011 – Museo della Scienza e della Tecnologia, Milano

Per il festival Audiovisiva 2011.

4 luglio 2015 – Accademia Filarmonica Romana, Roma

Nel programma 2015 del Festival ArteScienza del CRM.

Berna 2.0.1 again available

Berna 2 is again available at the software page.
Version is still 2.0.1.

web

THE ARCANE PILLAR

 

The Arcane Pillar is an hermetic musical instrument based on Neural Networks and Western Esotericism.
To make the software work, one must answer a number of enigmas, record or collect sounds of fire, water, air and earth, and finally balance them with the aid of different processes designed for each grade.
No user manual is given, but the γνῶσις that unlock the enigmas is quite well documented on books and in the web, if one knows what to seek…
Cheating is futile and genuinely discouraged, for only understanding the enigmas presented, their meaning and consequences, it is possible therefore to put in practice the knowledge and set in motion the inner logic of the instrument…

Currently in Alpha state
Screenshots are not definitive.
Follow this post for more updates.

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L’età d’oro di Milano XV sec. – The Golden Age of Milan XV cent.

Installation
May 21st – June 28th
Palazzo Reale – Milano

Opera urbana per musica e immagini
di AGON e CASTAGNARAVELLI

Comune di MilanoPalazzo Reale con il contributo di SNAM
nell’ambito ExpoinCittà media partner Interni – produzione AGON, 2015

da un’idea di CASTAGNARAVELLIMassimo Marchi

regia video Paolo Castagna

ideazione musicale e sound design
Roberto Andreoni
Pietro Pirelli
Antonello Raggi
Giorgio Sancristoforo

 

voce Maria Elena Romanazzi

strumenti a fiato Mario Arcari

ghironda Nicola Cicerale

regia del suono Massimo Marchi

realizzazione video The Fake Factory

 

responsabile di produzione Manuela Bottega

ufficio stampa e comunicazione Andrea AmatoCasi Umani

traduzioni Elyse Resnick

si ringrazia Alessandra Chiarello per i dati forniti sulla Ca’ Granda

 

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Hommage à Le Corbu

In this work music is used as virtual architecture or “sound-arch”.

“Transparent” walls of musical timbres are created and projected into space with the aid of six loudspeakers positioned using the Modulor rule. The Modulor is applied to every musical parameter as a perfect serial composition. The Modulor rules both the microcosm (the timbre) and the macrocosm (the form). Everything, from durations to intervals and timbres is written with the original RED and BLUE series (113 cm at the solar plexus) and contains the golden ratio all over the piece.

REIHE LAPTOP ENSEMBLE debuts


I’m glad to announce the debut of the REIHE LAPTOP ENSEMBLE. After four months of preparation we are ready to book concerts! Our first piece is called Stunde Null and it was premiered on May 31st @ AGON Contemporary Music Centre. We also performed Radio Music by John Cage.

SAE Institute e AGON present:
Reihe Laptop Ensemble: Stunde Null
Students of Sound Design For Performing Arts of SAE Institute Italiy.
Giovanni Calvani
Alessandro Gatto
Leonardo Giuffrida
Lorenzo Mocellin
Marco Neridetti
Davide Paccanelli
Luca Pagan
Pietro Scialanga
Hector Fabio Sergio
Music and direction: Giorgio Sancristoforo
In collaboration with Divertimento Ensemble
With:
M° Luca Avanzi : Oboe e flauto tenore diritto
M° Lorenzo D’Erasmo: Percussioni
M° Lorenzo Gorli: Violino e viola

M° Maurizio Longoni: Clarinetto e clarinetto basso

M° Pietro Pirelli: Pianoforte Preparato

 

Special Thanks
M° Massimo Marchi, M° Sandro Gorli, Giorgio Pona, Emiliano Alborghetti, Livio Festa, Dalila Sena, Daniele Raina e tutto lo staff SAE.

Für Ligeti

Für Ligeti from Giorgio Sancristoforo on Vimeo.

Little Ali – Hommage to Forough Farrokhzad

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Persian is a beautiful and musical sounding language
It is primarily spoken in Iran (natively known as فارسی Farsi [fɒːɾˈsiː] or پارسی Parsi), Afghanistan (officially known as “Dari” since 1958 for political reasons), Tajikistan (officially known as “Tajik” since the Soviet era) and other countries which historically came under Persian influence. The Persian language is classified as a continuation of Middle Persian, the official religious and literary language of Sassanid Persia, itself a continuation of Old Persian, the language of the Persian Empire in the Achaemenid era. Persian is a pluricentric language and its grammar is similar to that of many contemporary European languages.

This is an hommage to one of the most famous poet of Iran, with the words of her child-poem “The little Ali”.

Voice and Setar: Ārash Āzādi
Electronics: Giorgio Sancristoforo

English Text Translation

 

Bitscapes

A multi-screen installation exploring and challenging the ambiguity of realism in the digital realm.

Natural landscapes from the wilderness of western Australia slowly deconstruct. By losing their “photographic skin”, the illusion behind their realistic appearance is revealed.
Commissioned to mark the first anniversary of ‘Lovebytes at Millennium Galleries’ – a permanent plasma screen gallery curated by Lovebytes with the Sheffield Galleries Trust (2006)
Direction/Design: Quayola, Chiara Horn
Sound: Giorgio Sancristoforo
Coding: W. Kosma

 

Vis-à-Vis performance @ Maker Faire Rome

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What happens in our mind when it comes to human relations?
What happens inside us, what do we feel?

 

Read a great review on WIRED Uk here:
http://www.wired.co.uk/news/archive/2013-10/05/giorgio-sancristoforo

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“The music does in fact sound like someone experiencing severe mood swings. It’s a kind of experimental jazz, with trumpets bursting in short, sharp bursts followed swiftly by a dull boom of a trombone then the tinkering of a snaredrum. All this Sancristoforo is getting off of one reading while he sits opposite the Faire’s presenter; he is eyeballing him till the discomfort in his subject becomes clear for all in the auditorium to see. “I’m looking at you and we will hear what emotions come to me from you,” says Sancristoforo, just in case his subject was unaware of just how awkward the situation was about to get.”

Liat Clark / WIRED – Uk
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Vis-à-Vis
Production: AGON 2013
Music and programming: Giorgio Sancristoforo
Sound direction: Massimo Marchi

Selenofonie

A video installation

Selene (Greek Σελήνη [selɛ̌ːnɛː] ‘moon’;)
Fonia (Greek: φωνή, phōnḗ, “voice, sound”)

I always had a passion for astronomy.
Some months ago I’ve got a 200mm telescope and a  webcam to capture videos of the Moon surface.
My exploration turned into a video installation premiered at the National Museum of Science and Technology of Milan on October 29th 2011 for the annual audiovisiva festival.

 

Selenofonie
Concept, images & software: Giorgio Sancristoforo
Production:  AGON 2011/2012

Omaggio a Franco Evangelisti

Incontri di fasce sonore is one of Franco Evangelisti masterpieces.
Recorded in 1957 at WDR, Cologne, it is one of the classic scores of the integral serial music era.

This video was a preliminary study to investigate the possibilities of playing 1950s serial music with the Buchla synthesizer and Max/MSP.

I’ve programmed 315 mixtures of 7 sinusoidal tones in Max/MSP, following the score’s instructions,
then I’ve played them freely in the Buchla, creating a variation piece.

• Sound generation: MAX/MSP

• Music interface, amplification, spatialization, ring modulation, frequency shifting: Buchla 200e

• Reverb: Jomox T-Resonator

• Reverse sounds: EHX2880

realtime recording live to tape

 

 

 

That Stockhausen Sound

A simple MaxMSP patch to re-create the sound of the original recording of the legendary STUDIE II

 

This could be filed under “contemporary musicians that get crazy at sound design or sound designers that get crazy at contemporary music, thread”…

This year, Santas brought me the wonderful Studie II score, so after a while I’ve decided to make something about it..

As you know at WDR at the time of STUDIE II, there was only one sine oscillator. In order to create the Tone-mixtures for the work, Stockhausen had used an interesting method.

He had recorded every single sine frequency on tape, then he had cut every tape in 4cm long cuts.
To build the mixture he sequenced 5 of these pieces of tape (lowest frequencies played first) in a tape loop, and played back those loops into a reverb chamber with RT60= 10sec

While playing back, he had recorded the reverb chamber sound, and then he had cut the first part of the resulted sound so to obtain the reverb tails only.

Lastly he had used those reverb tails for the work, shaping the amplitude envelopes by hand.
When a crescendo was needed, he first had reversed the tape, then he shaped the amplitude.

This simple Max Patch can help students to build the tone mixtures (that then must be arranged in audio editors like Reaper, Logic, Protools or Cubase and the like).
It’s an interesting learning tool for it is faithful to Stockhausen’s technical approach at the problem.

audio example can be listened here

max patch for max6 can be downloaded free here

You will hear that the obtained sound is much more close to the original recording compared to the classic Stockhausen patch that comes with Max. I hope students and teachers will find this interesting.

Berna 2 Out NOW

Finally Berna 2 is out today!

I am very sorry for the long time it took to the release, I hope you will understand that 2013 was annus horribilis for me.
Not only I have lost a lot of my work in a bad hardware failure, but since my mother passed away on July 1, I have gone through a long dark time. Finally I am recovering, and working harder and better at my music and softwares.

As some of you knows I’m working at Gleetchlab 4. It will take some time to get to the new version, I’m experimenting new ideas and as usual the new version will be different from the previous release, so stay tuned and keep visiting the site!

Now before installing Berna 2 I must remember you that Apple has tightened control over 3rd party softwares in OSX Mavericks.
Fortunately there is a way to install any software (at least for now), with this simple procedure.

Open system preferences > Security and Privacy
and select ANYWHERE in  “Allow application downloaded from”
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Now beside this, please understand that Berna 2.0.1 requires a good deal of graphics memory, especially when you use all the 4 tape players. The software isn’t perfect and eventual bugs will be fixed as they will be reported.
This it is a great step forward since Berna 1 and I hope that many scholars, teachers and composers will appreciate this work.

As usual it will take 24 to 48 hours to get the serial number once you have payed with paypal. So please be patient.
If it takes more, drop me a mail with your paypal invoice, mail servers sometimes fail…

Thank you for your appreciation, patience and support.

Giorgio

>>>>> GO TO BERNA 2 NOW