Kristin, just finished the entire performance. I wonder if you would be amenable to a “how to” video on how a work like this is performed and recorded. For instance, do you play into a looper and then the looper’s output is fed into your DAW’s inputs? Or do you loop the performances within Ableton itself? I have no idea if your listeners would be interested, but I would like to see your techniques in making a similar short piece.
Wow, thanks for watching all that, LOL. Honestly, I still haven't figured out who the heck my audience is yet (or... even what _I'm_ doing), but I wouldn't be opposed to making a video like that at some point. The Cliff Notes version this is: it's all in Ableton. I was actually working off my desktop that's situated behind me in a too-awkward-to-film-in location (Long HDMI/audio/USB cables + a little portable flatscreen I'm viewing on. Violin + mic was plugged directly into my MOTU mk5 interface). Theoretically that would give me more processing power than a laptop for everything, but probably 30 minutes or so near the end the audio in my headphone playback was jittering a lot from the massive amount of tracks/effects I was piling on. Thankfully the recorded file didn't reflect this, but... I'm going to need to come up with a more stable system and/or use way less effects, I guess. Whether that means adding looper pedals or a mixer + some sort of external recording device I'm not sure yet. I probably should get on that, hmmm.... Slightly longer addition: What you see on the video is literally my first time attempting a whole live setup like this. I mostly use Ableton just in a writing/production situation. The day before I set up a template with random sample sounds/effects I liked in different tracks, so they'd be easily accessible. Otherwise, I just kind of went for it, assuming I could scrap it and re-record if it was a disaster. I guess I lucked out! It's kind of a mystery to me, too. :)
@@ComposerKristin thanks for that. I do a similar “Frippertronics” thing in Reaper. There are loops that are endless during the recording process and you have to watch for feedback, so not to ruin your work. Always fascinated to see how others achieve similar results.
Came across you by accident in my search. I love what you do. I love your attitude and I would love to talk to you I’m out in California. I have been doing sound experimentation since like the 70s but never added to my live things. I’ve always done indigenous, folk, music, and stuff like that and guitar, playing and jazz and everything like that and in the last30 years I’ve been doing it more more experimental stuff and the last 10-15 it’s been getting wackier and whack here. Well, it’s a part of a longer longer story but it’s always been with me experimental sounds and just being with SOUND is there anyway I can talk to you over the phone? I’ll be happy to give you my number and just to shoot ideas and just talk, like talking with composers experimental musicians to I feel like I can have a good rapport with. Thank you for your time. Sincerely, Martin can email me through my website www.martinespino.com there is a little form there on the very first interrupt Oriee page and you can email me from there. I am known for playing microtonal instruments of ancient Mexico since 1975 so that’s part of the reason. I’ve always liked SOUND and vibration because of these micro Toale instruments a lot of the instruments in my ancestry are surprisingly not just logic or percussive. They are also based in noise I have several instruments that make some very peculiar noises and I incorporate them with electronics, so that’s one thing I do but lately I’ve been having a lot of fun with the ambient noise box.
That was delightful and you look marvelous. Thank you for sharing
A little late for Halloween for me but love the look and the sounds. You should do more of these lengthier improvs.
It's always Halloween in my Universe. 🎃
Kristin, just finished the entire performance. I wonder if you would be amenable to a “how to” video on how a work like this is performed and recorded. For instance, do you play into a looper and then the looper’s output is fed into your DAW’s inputs? Or do you loop the performances within Ableton itself? I have no idea if your listeners would be interested, but I would like to see your techniques in making a similar short piece.
Wow, thanks for watching all that, LOL. Honestly, I still haven't figured out who the heck my audience is yet (or... even what _I'm_ doing), but I wouldn't be opposed to making a video like that at some point.
The Cliff Notes version this is: it's all in Ableton. I was actually working off my desktop that's situated behind me in a too-awkward-to-film-in location (Long HDMI/audio/USB cables + a little portable flatscreen I'm viewing on. Violin + mic was plugged directly into my MOTU mk5 interface). Theoretically that would give me more processing power than a laptop for everything, but probably 30 minutes or so near the end the audio in my headphone playback was jittering a lot from the massive amount of tracks/effects I was piling on. Thankfully the recorded file didn't reflect this, but... I'm going to need to come up with a more stable system and/or use way less effects, I guess. Whether that means adding looper pedals or a mixer + some sort of external recording device I'm not sure yet. I probably should get on that, hmmm....
Slightly longer addition: What you see on the video is literally my first time attempting a whole live setup like this. I mostly use Ableton just in a writing/production situation. The day before I set up a template with random sample sounds/effects I liked in different tracks, so they'd be easily accessible. Otherwise, I just kind of went for it, assuming I could scrap it and re-record if it was a disaster. I guess I lucked out! It's kind of a mystery to me, too. :)
@@ComposerKristin thanks for that. I do a similar “Frippertronics” thing in Reaper. There are loops that are endless during the recording process and you have to watch for feedback, so not to ruin your work. Always fascinated to see how others achieve similar results.
Came across you by accident in my search. I love what you do. I love your attitude and I would love to talk to you I’m out in California. I have been doing sound experimentation since like the 70s but never added to my live things. I’ve always done indigenous, folk, music, and stuff like that and guitar, playing and jazz and everything like that and in the last30 years I’ve been doing it more more experimental stuff and the last 10-15 it’s been getting wackier and whack here. Well, it’s a part of a longer longer story but it’s always been with me experimental sounds and just being with SOUND is there anyway I can talk to you over the phone? I’ll be happy to give you my number and just to shoot ideas and just talk, like talking with composers experimental musicians to I feel like I can have a good rapport with. Thank you for your time. Sincerely, Martin can email me through my website www.martinespino.com there is a little form there on the very first interrupt Oriee page and you can email me from there. I am known for playing microtonal instruments of ancient Mexico since 1975 so that’s part of the reason. I’ve always liked SOUND and vibration because of these micro Toale instruments a lot of the instruments in my ancestry are surprisingly not just logic or percussive. They are also based in noise I have several instruments that make some very peculiar noises and I incorporate them with electronics, so that’s one thing I do but lately I’ve been having a lot of fun with the ambient noise box.