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VIZZable2 is a suite Max for Live plugins for video manipulation and performance in Ableton Live 9. Originally based on Max’s VIZZIE devices, VIZZable has been rebuilt from the ground up to take advantage of gen which allows for very fast and efficient video processing on the GPU. VIZZable is suitable for live audio visual performance, VJing, interactive installations or audio visual composition and production. OSX users can use syphon to route video between VIZZable and other applications.
For the past few weeks I’ve been working with Gian Slater and her choir Invenio to produce a new audio-visual work called Luminesce. The concept for the show is an extension of my Concerto for Light Sculpture piece, seven singers are arranged in a line and are projected onto. Each singers voice controls what exactly is projected on to them and Gian has arranged the music in such a way as to create emergent patterns of light across the singers. The show’s debuting next week at The Guild Theater, Melbourne. If you’re a Melbournite and like pretty music, shiny lights and/or technical technology you really should come!
For the nerds who like to know what’s happening under the hood, read on.
The overall architecture for the show is something like this: each of the singers has a microphone that’s fed into a macbook running Ableton. Each Ableton track has a Max for Live device measuring the inputs’ amplitude, converting it into a float between 0 and 1 and beaming that via OSC over to a windows machine running Derivatives’ Touch Designer .
Luminesce is the first project I’ve used Touch for and coming from Max/MSP I’ve found it super easy to pick up. Each node in Touch lets you see exactly what it’s doing and the environment is text based where it’s better to be. It’s probably most similar to Quartz Composer but more mature, flexible and usable. It also feels nice and scifi, the way you zoom in and out of nodes – very Minority Report. I think I’ll be using it a lot more in the future .
The onscreen UI I’ve built for the show has controls for selecting colour schemes, controlling colour levels and a soft border, as well as meters to see the amplitude of each voice coming in and another meter showing how each voice channel is being processed (boosted, squashed or clamped). UI building seems to be a strong suit of Touch too. It’s almost a cross between Max and Java/Swing with containers and panels but also sliders and meters, the sort of things you need for media. Although, No prebuilt piano keyboards. It is absolutely possible to build that sort of thing in Touch but for audio and midi generation/processing Max still carries the torch.
For Luminesce I have a dozen or so scenes built from reactive geometry and shader effects that I can fade in and out through out the show but other than that everything is driven by the data provided by the singers.
The clip I put together for Agnes Kain a few months ago has just gone live. The clip is for their track “Still Grey” lifted from their new record ”Before We Finally Meet”, out November 23rd.
This was a really fun project – I’ve become quite fond of the lonely moon-bot. The whole thing took about 2 months of steady work and it’s my first venture into strictly computer animation. If you enjoy the clip show it to a pal!
currently at zeal labs i’m hard at work on a new animated music video for the wonderful agnes kain. the clip features a lonely robot that lives on the moon and dances the robot in slow motion. i’ve built the sun, the earth and the moon. tonight i build the bot.
excitingly, i was invited to be part of feral media’s new strain of origin II compilation. it’s a really high quality mix of australian artists all remixing each other – i remixed underlapper, aheadphonehome remixed me, AFXJIM remixed aheadphonehome, anonymeye remixed AFXJIM and on and on and out popped a really tops collection of tracks. from the blurb:
The compilation traverses genres with the resulting tracks as varied as the artists themselves. From the pulsing ambience of Broken Chip’s take on Toy Balloon, to Comatone’s assaulting drill n bass reworking of Simo Soo, to Zeal’s all-out indietronic take on Underlapper’s track Himpory. Elsewhere Restream turns 8-bit maestro Dot.AY’s track into a stomping glitch freak out, while Jonathan Boulet takes us on a ride through desert plains with his spaghetti western reimagining of Brisbane artist Subsea.
The Strain of Origin compilations are a great example of what can be achieved through remote collaboration and are a true testament to the high calibre of music being produced on Australia’s fair shores. This second compilation establishes a precedent for an annual release with new Australian artists and labels to be added along the way.