Wheelchair access can be arranged upon arrival but venue staff will need to assist (eg. For more venue information, please see FMV Venue Information. Please see How to Book Your Ticket if you require step-free and/or wheelchair access in Quilt Room. Accessible bathrooms are available on Ground Floor and Level 1 of the South building, next to the lifts on each level. Turn right when exiting the lift and continue right down the corridor, through the large double doors.Īccessible seating is available on the right-hand side of the performance space, close to the entrance door. Bleep Bloop is extremely easy to learn, but that doesn't mean the puzzles will be a piece of cake. Play alone controlling both characters or share the experience with a friend. A light-hearted and playful puzzle game about working together. There is step-free/wheelchair access from Lygon St to a door on the right before entry to the Courtyard Bar, then the lift is taken up to Level 1. Meet Bleep and Bloop as they help each other overcome all the challenges that stand in their way. Quilt Room is up the large staircase on the right once upstairs, the venue is straight ahead down the corridor. My urge to create new music is just as strong as ever, and the Neutron gives me a new and rich musical medium with which I can express myself like never before.The entrance to the Quilt Room is via the long driveway from Lygon St, heading towards the Courtyard Bar area and into the Ground Floor of the South building. It is exciting to have a new outlet for musical ideas that is compatible with various modes of self-production, as the COVID-19 pandemic has eliminated all my performance opportunities (the same is true for so many other musicians, as well). Those have been fun to produce as I document my journey learning more about what the Neutron can do in preparation for creating either fixed media or live pieces with it at some point in the coming year. The videos I’ve included in this blog entry, and the others that I have posted to my Twitter, Instagram, and TikTok accounts, show the Neutron can do so many other things in conjunction with different hardware. I can even play my Neutron on its own, without attaching a keyboard, like it has a sonic heartbeat I can bring to life. And, even though the Neutron is electronic and produces a synthesized sound, there is something very naturalistic about the way it reacts to itself and evolves in the moment. Translations in context of Bleep bloop in English-Spanish from Reverso Context: A flying saucer drops out of the sky. Some of these connections are default settings on the instrument, but others can be created spontaneously using the patch bay. Because it is a modular synthesizer, the discrete components of its sound are interwoven and can manipulate each other. What I love the most about playing with the Neutron is the way it listens to itself, and makes me listen in new ways. The Neutron fits the physicality of my improvisatory style, honed in middle school and high school over hours of relentless electric guitar noodling, and, in this way, has shown me a new path to making electronic music. I could, of course, make a simulated instrument in Max/MSP that exhibits all these characteristics (and many more, because that program is basically limitless), but I don’t have the skills for that right now. The knobs have character and ‘give’ to them, the patch bay can get cluttered with wires, and I hear the Neutron’s sound respond, often unexpectedly, when I move my hands around the interface, experimenting with different combinations of effects and settings. Mediated through the computer screen, mouse, and keyboard, there is not as strong, if any, tactile connection between me and the sounds I’m creating, which is very different from all my experience playing instruments. I’ve written some fixed media pieces using DAWs (check out Mechanismus), and played around with Max/MSP and Supercollider, which are incredibly flexible, coding-based programs, but, in addition to being hard for me to learn, I get stuck with the physical abstraction of the experience. Chris and I did an interview with experimental bassist Gahlord Dewald a couple months after Djentdemic was premiered in February 2016, and I even admit I’m not sure if Djentdemic is an electronic piece at all (Gahlord even teases me on air for saying something so ridiculous!). When I wrote the first of these works, Djentdemic for percussionist Christopher Sies, a few years ago, I wasn’t really sure if it ‘counted’ as an electro-acoustic piece because there was no fancy software at play. If you look at my new Works List page, you’ll see that there are not many electronic pieces listed there, and most of them are for amplified acoustic instruments. I’ve always been very interested in electronic music but insecure about my abilities in the medium.
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