![]() ![]() As soon as a certain sound is triggered, a corresponding pattern appears. The layers contain sets of simple black & white shapes, like circles, squares, and lines. It triggers the internal sounds of the Octatrack audio as well as the graphic layers in Modul8. For " Super.Trigger" I just use MIDI, coming from the sequencer part of my Octatrack. It always moves along the pulse of the music, but I can change the size, place and speed of the objects. For " Kippschwingungen" I used the particle emitter of Modul8, just reacting to the sound, with each frequency band (hi/mid/lo) having their respective colors, red/green/blue. For different projects I use different methods. In the best case, it should represent the sound on the visual level. Generally speaking, I love to have the visuals connected to the music, synchronized and tight. Like the status lights on electronic sound equipment, representing the parameters of a music piece: flashing and moving bars, dots, lines and numbers. So I use more or less abstract forms – simple shapes, geometrical patterns – rather in an animation style than cinematic. At the A/V Interchange panel discussion at last year’s Loop event, we asked three artists working in visuals for music about some of their artistic goals going into such collaborations.Īs Frank Bretschneider tells me via email, “I don't have a concept, but I avoid illustration, I don't want to tell a story. ![]() Though working with an artist from another discipline can be challenging, it has the potential to augment and even transform a performance in many ways. While a few musicians are also visual artists and create their own visual element, the vast majority of A/V performances are collaborations. Any musician that reaches audiences of a certain size will eventually face the question of A/V accompaniment, regardless of whether visual presentation has been central to their work or not. Just look at clips from stadium shows from Kanye West, Taylor Swift, Katy Perry, etc. We’re now in an era where you can easily find an underground festival devoted solely to audiovisual, or A/V, performances – such as LEV Festival in Spain – and the cross-platform pair-up has long been standard practice for large-scale music events. As the digital world allows creative practices to merge more seamlessly, an important strand of music, especially in its live presentation, is visuals. ![]()
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