Suss Müsik built upon the Artiphon INSTRUMENT-1 with a DIY synth attachment, played via touch-sensitive ring with built-in modulation. DIY synths are fun.
The first demo is a little improvisation with fake strings played on the Arti as fingered chords, with sustain/pressure variances controlled by footpedals. Sound is generated on the synth by gliding one or two fingers along the outer ring.
The added text is the first paragraph of Oku no Hosomichi (meaning “Narrow Road to Oku”), a 1702 work written by Matsuo Bashō. Translated to English, the text reads as follows:
“The months and days are the travelers of eternity. The years that come and go are also voyagers. Those who float away their lives on ships or who grow old leading horses are forever journeying, and their homes are wherever their travels take them.”
The Quarantine Concert series shall continue for as long as the pandemic does.
Suss Müsik continues an obsession with building handmade synth devices that make odd (and sometimes beautiful) noise. The latest one is a dual-ouput synth controlled by flashlight, each channel with a built-in VCF control. This recording was made accompanied by a fake string quartet (not shown on camera).
Latest in a series of Suss Müsik Quarantine Concerts, along with this little ditty composed with the Artiphon INSTRUMENT-1. The device’s default modulation functionality is controlled by external foot pedals, leaving the internal accelerometer free to manipulate other sounds.
Suss Müsik will be making some exciting announcements in the coming weeks, so stay tuned for those (or don’t).
Another in a series of collaborations with visual artist B.G. Madden, this time using his rendering as a scaled audio map. Larger images with more white create higher frequencies, with the scan following the dark lined pattern. The tiny lines resulted in digital “grit” artifacts. The piece is titled Vincula, which represents a band of connective tissue that holds a ligament together.
Suss Müsik continues a very fruitful collaboration with visual artist B.G. Madden. The latest piece, titled Dotto, was rendered from audio scans of Madden’s most recent work.
Given current pandemic conditions, Madden delivered his contributions via US mail in the form of handmade post cards. The new pieces are beautifully reminiscent of post-modern “picture theorists” from the late 1980’s: Richard Prince, Annette Lemieux, and especially the late John Baldessari. The scanned output was then filtered through grain synthesizers and Moog modulation boxes.
Suss Müsik has lagged behind the Quarantine Concert series. Dotto will likely be the next piece “performed.” Or maybe something different. The new social archetype is ambiguity, and Suss Müsik embraces it.
In related news, Suss Müsik’s piece entitled Attaché (also a collaborative work, this time employing Madden’s art as graphic notation) will be featured at this year’s New York City Electroacoustic Music Festival (NYCEMF). Again due to the global pandemic, the entire concert series is taking place virtually. Some great work there to be heard, however, and you don’t even have to leave your house.
Suss Müsik has released a new album entitled NON to close out 2018. NON is described as “four electroacoustic pieces based on live improvisations using piano, percussion, Moog synthesizers, electric guitar, primitive electronics, sampled wind instruments, hitting things, obfuscation.” This is as good a description as any. NONis available on Bandcamp and will soon be released on the usual commercial channels.