This is my first blog post in a while, so I should address that. Why the four month hiatus? Well, I felt quite critical of my show after returning from Beijing in April. It was apparent to me that I needed more decent music available to showcase, plus an enhanced element of real-time visualisation. Perhaps I’m being too much of a perfectionist, as I’m well-vested in the scale a live show takes to be curated and performed well. Multiple team members and an acute plan towards achieving effective execution every time. Currently I’m single-handedly writing music, creative visuals, setting up and performing. The ideal scenario would, as originally suggested, have an installation available in the venue projecting cymatic formations directly to screen.

Having researched the options available, a live feed through Resolume is perhaps the best for a cymatic base and overlayering textures, other visuals in real-time. However, this is perhaps a tall order for the performer on stage. Reflecting back to the Beijing show, mixing one track into another after reverse engineering the visuals in Final Cut, even with the help of sync and making use of the visual effects in Cross, was busy work. But why? Perhaps this is because some of first tracks I was playing did not fit well together harmonically, in key. Plus, the track analysis in Cross just was not as efficient as Traktor Pro. As many digital DJs will understand, when a track is analysed incorrectly at half or double its tempo due to strange beats, or time signature, it’s sometimes awkward to perfect and requires constant nudging. Like using a turntable with poor torque. Spending more time perfecting this would have reduced synchronisation issues and enabled more freedom to manipulate sound and visual on the fly. I think Cross is a great program, but lacks the professional solidity of alternatives like Traktor Pro, plus it was due an upgrade.

 

Initially wanting to make this a DJ concept, I managed to acquire some timecode vinyl from Mixvibes, plus the new release of Cross DJ 4 over the Summer and began experimenting beat-matching my tracks using turntables. It wasn’t great. There is potential, however I need a great deal more music available and, if I’m totally honest, the cymatic aspect is beginning to bore me. I feel the visualisation needs variation and diversity, perhaps dipping in and out of cymatics but including other abstract visual material I continue to enjoy filming. On a positive note, Mixvibes have given Cross a real solid update and the interface is vastly improved and no doubt the capabilities. However, the processing power still seems too much for my top-specification, 2018 MacBook Pro 15.

All of these issues are minor in reality, perhaps my main frustration is justifying time and keeping my anxiety in check. I’ve spent the past four months, trying to find secure, paid employment. At time of writing, it is exactly one year since I received the final module result of my Masters degree. I felt optimistic last year that I was in a better position to make something out of my music. Unfortunately, what I am now pursuing in terms of employment is totally unrelated to my Masters endeavours. However, in the last four months I have also managed to create plenty of great new music. There has been however, a severe lack of cymatic filming. Why is this? I guess my interest has swayed to try and focus on getting some music releases completed. It is ever more competitive to find paid employment in this industry, but also the same for getting record labels to listen to one’s music. I figured I needed to focus on finding a sustainable income, or at least gaining some exposure from music, which in turn might project this concept into reaching a greater audience. I also lack belief in what I’m doing because I’m often around people who don’t understand why I’m pursuing this endeavour. That’s not exactly encouraging but it doesn’t stop me. Just makes me question myself into redundancy on anxious, challenging days.  The few times I have filmed cymatic patterns in my new tracks in recent weeks has proved interesting to see, although reobtaining my optimum camera settings and lighting proved to be a hurdle. Rookie mistake: document every camera setting and position with great intricacy. I also rediscovered a track that was shelved from completion and subsequent inclusion in the Beijing show. The screen grab below demonstrates the intricate detail that I was achieving after an effective, experimental filming period.

I am lucky though, whenever I travel to Beijing to visit my girlfriend, she encourages me to be inspired by art exhibitions she takes me to. She also pushes me to keep researching as she sees its potential and validity in my life. There has been very little studying of research papers on cymatics or any genius ideas on my part. However, I have been inspired significantly by other artists, which is a blessing. Yesterday, I saw an exhibition from Doug Aitkin in Beijing, which has a clever use of three projectors and screens, plus mirrors in a hexagonal, dark space.

The 360 degree infinite visualisation, titled NEW ERA is excitingly, trippy to say the least and made me think; wow, my show would look good in here. Without wanting to copy Aitken’s concept entirely, it does prove extremely effective on the visual aspect, plus at the stage in the 21 minute loop where some mechanical, techno-esque music drops. Aitken embraces the first use of a cellular phone in 1973, with the synopsis explaining the following:

“The narrative within this work disintegrates and abstracts, mirroring how the diametrically opposed notions of connectivity and freedom have been underlined in this paradigm-shifting moment in history.”

It is definitely a concept which works effectively and would be highly stimulating and immersive in a music performance setting. Having observed the exhibition layout in some detail, the room is built in a hexagonal formation with three giant screens on certain walls. The remaining walls, aside from some entrances to walk through to other rooms, are made up of mirrors. This ensures that the projections are reflected infinitely throughout the room.

Taking inspiration from this one exhibition, makes me reflect back to ADE when I spoke to Juan Atkins and felt inspired to actually make something of this. If there has been one factor which keeps emerging in my mind which I can no longer ignore, is that I need help. I need to collaborate with other visual artists to make this happen with as much potential as possible. It may take some time, it may not see the light of day for a while but great art takes time, money and expertise. We’ll see what happens in due course.