Sound Work — Femi Shonuga-Fleming

According to Chance RISD Wintersession 2023
Digital Media

Init State (Binaural)

WATCH HERE

Using minimalism in audio as a single source for creating a spatial environment using various spatialization techniques. Originally recorded and performed on Feb &th 2023 in 8 channels (2nd order ambisonics). All sound sources are white noise and sine waves, some saw waves. CRT TVs display two main conversation sine waves, panned left and right in the space. Spatialization performance fills the space between the conversing sine waves.

Grid Ops Binary Left Shift Rotating

Interactive performance for According to Chance Wintersession at RISD
Jan 2023

Participants were instructed to press any button on the grid. The grid controls conditional statements coded on Teletype to influence pattern and note data sent to both the modular synthesizer and the sampler. The grid becomes an easy and childlike interface for user friendly interaction with a complex machine/program with a simple set of rules.

Click Here For the Full Performance

Teletype Code:

#1
EV + 1 G.FDR.N 0: I2M.N# J K A
J PN * B 2 0; D ? PN B 0 3 0
B G.BTN.V 8
C * B 2

#2
EV + 1 G.FDR.N 0: I2M.N# J K A
J PN * B 2 1; K PN ? B 0 1 1
IF < Z 4: CV 1 V 5
DEL * LAST 2 2: CV 1 V 0

#3
EV + 1 G.FDR.N 0: I2M.N# J K A
J PN * B 2 2; K PN ? B 0 1 2
IF < Z 4: CV 2 V 5
DEL * LAST 3 2: CV 2 V 0
CV 3 N + 65 % T G.FDR.N 11
CROW.AR target="_blank">CROW.AR 1 0 / LAST 1 4 V 5

#4
EV + 1 G.FDR.N 0: I2M.N# J K A
J PN * B 2 3; K PN ? B 0 1 3
CV 4 N + 36 % T 9
CV.OFF 4 N + 12 G.FDR.N 13
CROW.AR 2 0 / LAST RND 2 4 V 5

#5
EV + 1 G.FDR.N 0: I2M.N# J K A
J PN * B 2 4; K PN ? B 0 1 4

#6
EV + 1 G.FDR.N 0: I2M.N# J K A
J PN * B 2 5; K PN ? B 0 1 5

#7
EV + 1 G.FDR.N 0: I2M.N# J K A
J PN * B 2 6; K PN ? B 0 1 6
Z G.FDR.N 14

#8
EV + 1 G.FDR.N 0: I2M.N# J K A
J PN * B 2 7; K PN ? B 0 1 7

#M
T + T 1; X G.FDR.N 11; CV 4 O
M + + 20 * G.FDR.N 9 20 J
J << G.FDR.N 10 RND Z
Y BGET X % T G.FDR.N + 12 K
TR.P ? Y ? Z 1 4 ? TOSS 2 3
K RND * G.FDR.N 13 4; $ 7

#I
G.FDX 0 0 0 4 1 0 0 0 1 8
A 127; T 0; M.ACT 1; $ 1
G.BTN 8 4 0 1 1 1 0 1
G.FDR 9 4 1 1 7 1 0 0
G.FDX 10 5 0 1 8 1 0 0 5 1
PARAM.SCALE 0 10

#P
8 8 8 8
1 1 1 1
0 0 0 0
63 63 63 63

10 36 1 36
10 48 2 37
10 41 3 38
10 58 4 39
10 40 5 40
10 49 6 41
10 42 7 42
10 39 8 43

Untitled

Performance for Of Sound and Vision Wintersession in collaboration with Haram Lee
RISD
Jan 2022

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As planned, we made a project where we incorporated most of the hardware available to us and utilized max as a giant hub for all the sound to be modulated by and to pass through. Also, by incorporating network connection through udpsend/receive, we could control the other’s patches by using our own modulating sources. Max was also used for all the visuals in the performance. Femi made a patch that uses the velocity of the movement seen through the webcam to control the serge modular, and I had a visual patch that was controlled by the sounds coming from Pulsar-23. Max was also used for live sampling all the sounds coming from the hardwares and modulating them, and then resampling them, and so on. All in all, max was used in a lot of different ways including but not limited to, mixing sounds, sampling sounds, making visuals, providing utility for signal control/routing, connecting Femi and my patches, modulating/signaling sounds for hardware, etc.

All Sound Sources from Eurorack modular, Serge Modular and Elektron drum machines, synths and samplers. All Visual Sources come from Max MSP.

CHARACTERS

RISD
May 2021
Performance for Sound Synthesis Spring Semester

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I have been really interested in creating immersive and complex textures with the Serge and I wanted to focus more on this idea of maximality by using feedback paths and cross modulation of signals (feeding back and wave multiplier or cross patching oscillators using their frequency modulation input) instead of a random source such as noise or sample and hold to have more control over the patch overall. This effectively let all of the individual sounds or characters communicate in an easier and more efficient way, allowing for a balance of chaos and each sound's primary source. I also wanted to focus on giving every individual sound its own space, so as to not have the patch be so dense.For my final project I wanted to focus on the idea of characters and synthesizing organic and controlled random. I used two CRT TVs as a visual representation of these characters, one visualizes the Serge analog synthesizer, and the other visualizes SuperCollider, to show the communication between analog and digital. I performed this patch live because I felt it was important to interact with these characters in real time, or in an improvisational way.

HYPERENCODER

RISD
May 2021

Performance for Spatial Audio Spring Semester

In this work I experiment with mapping synthesized sounds in an imaginary, impossible space using and abusing 3rd order ambisonics spatialization techniques. I wanted to focus on the conversation between organic and synthesized sounds, and creating the organic from the synthetic. All sounds in this piece were synthesized. This piece was originally performed at the 25.4 hemisphere speaker array at RISD. The performance was recorded on 24 channels and decoded to stereo binaural.

click HERE for the album attached to this project.

Hardware:
Modular Synth, 25,4 Speaker Array.

Software:Orca, Cassetter, Repaer, Max MSP
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Performance for Creative Code Festical NYC

Lightbox NYC
Nov 15, 2020

My performance for the “Creative Code Showcase: The Art Channel” segment of the Creative Code Festival. a 4-day visual art curation in collaboration with Never Knows Better, New Media Art, XRE Ensemble, Celeste Journal & Creative Code Art.

Meduim:
Performance

Hardware:
Modular Synth, Elektron Octatrack (Sampler), Korg Electibe EMX-1 (”Groovebox”)

Software:
Orca (a live coding environment by hundredrabbits)

Click Here For Full Performance

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