Golden Boughs
Golden Boughs
...have created lightening...
Golden Boughs
Golden Boughs
...have created lightening...
Below are some new tracks off the upcoming ep.
Take a listen.
CherryWarhola
CherryWarhola
the sound, the lyrics, the legend
CherryWarhola
CherryWarhola
the sound, the lyrics, the legend
CherryWarhola is an electronic group comprised of
Judy Uzi, Jicama Jane, and FreddyOneTake.
Chantilly Lace - the video
Chord Map
Chord Map
standard guitar chords
Chord Map
Chord Map
standard guitar chords
A. Consolidated notes. Length equals percentage of use.
B. Chord Map 1
C. Chord Map 2
D. Chord Map 3
Frequency Draw
Frequency Draw
Frequency Draw is a sound mapping demo created through a network of software. Rhino, Grasshopper, Firefly, and Max/MSP/Jitter were explicitly used in creating the content.
An audio input's frequency spectrum is parsed into high, mid, and low frequencies. The frequency data extractions are then sent via UDP to Grasshopper/Firefly where a definition produces a three dimensional mapping of the frequencies.
Camtasia was used to capture the demo.
The song was composed in Reason.
Frequency Draw
Frequency Draw
Frequency Draw is a sound mapping demo created through a network of software. Rhino, Grasshopper, Firefly, and Max/MSP/Jitter were explicitly used in creating the content.
An audio input's frequency spectrum is parsed into high, mid, and low frequencies. The frequency data extractions are then sent via UDP to Grasshopper/Firefly where a definition produces a three dimensional mapping of the frequencies.
Camtasia was used to capture the demo.
The song was composed in Reason.
Disclaimer: This video was recorded live.
Point Cube
Point Cube
PennDesign | SS/2012 | Critic Simon Kim
Point Cube demonstrates geometric response to audio, namely the frequencies of guitar chords, using a network of software. Each vertice of the cube was mapped with a particular frequency from where a finger would be placed on the fret board of the guitar. The experiment demonstrates how mapping sound frequency can create geometry. Rhino, Grasshopper, Firefly, and Max/MSP/Jitter were used to create the content.
The change in frequency due to a change in chord structure results in a varied geometric response. The response of the cube’s vertices renders varying form and structure in relation to chordal structure. There is also an inherent proportion to the deformation of the cube that is in relation to the structure of the chords.
Point Cube
Point Cube
PennDesign | SS/2012 | Critic Simon Kim
Point Cube demonstrates geometric response to audio, namely the frequencies of guitar chords, using a network of software. Each vertice of the cube was mapped with a particular frequency from where a finger would be placed on the fret board of the guitar. The experiment demonstrates how mapping sound frequency can create geometry. Rhino, Grasshopper, Firefly, and Max/MSP/Jitter were used to create the content.
The change in frequency due to a change in chord structure results in a varied geometric response. The response of the cube’s vertices renders varying form and structure in relation to chordal structure. There is also an inherent proportion to the deformation of the cube that is in relation to the structure of the chords.
Freq Out
Freq Out
experimental cocktail using Rhino, Grasshopper, and Max/MSP
Freq Out
Freq Out
experimental cocktail using Rhino, Grasshopper, and Max/MSP
Freq_Out_1
Freq_Out_2
Deformable Sound Membrane
Deformable Sound Membrane
an architectural instrument
PennDesign | SS/2012 | Critic Simon Kim
Sound creation is an extension of the body. For instance, the haptic nature of the guitar is in direct relation to the sound emitted from the instrument, as the hand’s fingers map notes. Likewise, the architectural surface becomes an extension of the hand, arm, and body.
The deformable sound membrane is a prototype created to demonstrate geometrical modulation of sound through the architectural surface. A 36” metal ring was used as a structural frame for a four-way stretch lycra membrane. Three flex sensors were sewn to the lycra which were connected to an Arduino board that sent measured data to a personal computer. The computer received the data from the Arduino via Grasshopper, a plug-in for Rhinocerus. A Grasshopper definition then sent the data via “udp send” to Max/MSP where the data was used to modulate sound frequencies.
Deformable Sound Membrane
Deformable Sound Membrane
an architectural instrument
PennDesign | SS/2012 | Critic Simon Kim
Sound creation is an extension of the body. For instance, the haptic nature of the guitar is in direct relation to the sound emitted from the instrument, as the hand’s fingers map notes. Likewise, the architectural surface becomes an extension of the hand, arm, and body.
The deformable sound membrane is a prototype created to demonstrate geometrical modulation of sound through the architectural surface. A 36” metal ring was used as a structural frame for a four-way stretch lycra membrane. Three flex sensors were sewn to the lycra which were connected to an Arduino board that sent measured data to a personal computer. The computer received the data from the Arduino via Grasshopper, a plug-in for Rhinocerus. A Grasshopper definition then sent the data via “udp send” to Max/MSP where the data was used to modulate sound frequencies.
Not to Scale
Not to Scale
This is my final submission for Visual Studies I in the first semester of my Master of Architecture program, Fall 2009, at PennDesign.
It is a raw collage of clips, animations, and architecture from University City and the University of Pennsylvania in Philadelphia.
The soundtrack was created by myself in Reason and employed the use of a 12 tone matrix and rule set to trigger sound samples. My critic was Simon Kim.
Not to Scale
Not to Scale
This is my final submission for Visual Studies I in the first semester of my Master of Architecture program, Fall 2009, at PennDesign.
It is a raw collage of clips, animations, and architecture from University City and the University of Pennsylvania in Philadelphia.
The soundtrack was created by myself in Reason and employed the use of a 12 tone matrix and rule set to trigger sound samples. My critic was Simon Kim.
Dom P.
Dom P.
The Liquid Dissertation
2004
Dom P.
Dom P.
The Liquid Dissertation
2004
"Dom P." comes from an old friend as he hyped-up "Joe P."
Now that's some champagne for you.
Pump up the Volume
Above are two takes off an eight song track list. Conceived as an experiment in self-jamming coupled with keyboard presets, four songs were recorded at night and four were recorded in the morning, all within an eight hour time frame. Trip 2 is from the late night session, while Trip 6 is from the morning session.
The respective tracks of the songs were all done manually on an Alesis QS7 keyboard and recorded on a Boss BR-900 CD, mixed manually live, and are full of moments of complete sonic clarity as well as stumbles of dysfunction.
The recording process and resulting songs were named The Liquid Dissertation.
"Sometimes it's nice to take a swim."
Show Posters
fountainhead show posters
2003 - 2005
Show Posters
fountainhead show posters
2003 - 2005
Electronic Carcass
electronic carcass
fountainhead's last album
2008
Electronic Carcass
electronic carcass
fountainhead's last album
2008
fountainhead
Electronic Carcass
Ledannus
Ledannus (1997-1999)
Ledannus was a three piece rock outfit that came after the dissolution of Laced Establishment. It's members were Josh Courtright, Kevin Dietterick, and myself.
In the summer of 1999, we DIY'd the recording and production of our ep in an early version of Cakewalk, which is self titled, complete with rookie moves like clipping and lo-fi production on Radioshack mics. Below is one track off our ep, sittin' on the curb (1999).
Our good friend Dave Wood had a CD burner, which back then wasn't a ubiquitous gadget, thanks to him for taking the time to burn these bad boys, it wasn't a quick thing to do.
The ep has (50) copies in existence, if that.
Ledannus
Ledannus (1997-1999)
Ledannus was a three piece rock outfit that came after the dissolution of Laced Establishment. It's members were Josh Courtright, Kevin Dietterick, and myself.
In the summer of 1999, we DIY'd the recording and production of our ep in an early version of Cakewalk, which is self titled, complete with rookie moves like clipping and lo-fi production on Radioshack mics. Below is one track off our ep, sittin' on the curb (1999).
Our good friend Dave Wood had a CD burner, which back then wasn't a ubiquitous gadget, thanks to him for taking the time to burn these bad boys, it wasn't a quick thing to do.
The ep has (50) copies in existence, if that.
Mosh pits were known to get bloody around 3:28
sittin' on the curb
Ledannus
1999