Ah, the a morbid fascination with celebrity death… Inspired by Charles and Gavin, here is my deathlist for for Deathication 2010. I am sure Charles will criticize my list, but this is my first attempt, so be kind (as if that was possible)…
my 2010
Recorded live with a small four channel Behringer mixer acting as a no-input mixer sent to a large Mackie mixer with several channels of effect loops running to several other channels. The “rhythms” and “tempos” are altered slightly by changing levels of equalization and input throughout the first part of the piece before the effects are brought in to eventually take over the “organic” rhythm. I sort of sounds to me like a bizarre drum circle of analog hippie aliens in the forrest of a two dimensional world somewhere. The abrupt ending was done by simply unplugging the inputs.
Also really wanted to re-experiment with Drop.io as an audio-sharing tool.
Last week, in a bit of preparation for the upcoming winter break–it really cannot come fast enough–I started taking apart my effects board to add the second keyboard stand and try to make it all travel worthy. With a few shows coming up in the Spring, I need to figure out how to get this stuff on a plane… oof.
A few cords hang about, but the mixer is largely alone. A ukelele and a reverb tank. One may not get used the next time around. Some sticks, drum and chop varieties.
I think this is nearly all my pedals. Some are pieces of junk and won’t get used. Others are pieces of junk and will get used.
Contact microphone storage is a cinch with this old metal case from a socket set. I like to use radio shack piezos. I remove the plastic shells, making the microphones fragile. I add a little bit of Gorilla Glue on the back and use that green sticky stuff used to put up posters.
Next… a more completed board.
“lights 2″ (version 1) from colin helb on Vimeo.
Performance of “lights 2″ (harsher than “Lights 3″) by Colin Helb. The performances of the “lights” series feature a three-voice oscillator built on a prototyping “breadboard” to allow for mid-performance manipulation of parts and wiring. The pitch and timbre of the three voices are controlled independently by light-sensitive photocells. All signals are run into a four channel mixer which feeds a series of effect pedals and are run back into channel four of the mixer. The performance incorporates several light sources (both fixed and movable) and a ceiling fan which doubles as a stand for the overhead camera. This performance was recorded directly to a Fostex eight track with video recorded with an iPhone and the iSite camera on a MacBook. Version 1 does not incorporate the transitional montages of Version 2.
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