User Details

Username: bugcompass
Website: www.bugcompass.co.uk
Facebook: www.facebook.com/bugcompass
Twitter: twitter.com/bugcompass
Soundcloud: www.soundcloud.com/bug-compass
Account Status: enabled
Member since: Feb 25 2015
About bugcompass: Bug Compass is a freelance sonic artist and musician, who has lectured in Sonic Arts, Music and Music Technology at the University of Kent, University of Greenwich, Canterbury Christchurch University and Canterbury College. His work as a musician and producer has been released on both vinyl and digital formats, and has been featured in several radio broacasts, theatre and dance productions.

The sound art of Bug Compass focuses on making music from the broken; either traditional musical elements are realised using broken instruments or objects whose original function no longer works (a guitar with one string, a rotting piano, a harmonium with a stuck key or squeaky pedal) where through careful editing these anomalies or errors reveal their own musicality; similarly through the use of self programmed software, generally accepted musical idioms and forms become broken and distorted. These ideas collide in a world beyond digital music, where both music is processed digitally and where the digital is processed musically.

Bug Compass has created and exhibited several sound installations including: Twister, using the children's game Twister, electronics and homemade software to edit and rearrange music in realtime; the Sisyphus Tunnel, a tunnel lined with pairs of speakers, whose audio loops interact and interfere acoustically (and psychoacoustically), and the Mayan Calendar, using algorithms from the Mayan Calender in homemade software to repeat and gradually evolve multichannel reiterations of a soundfile. The Mayan Calendar software has also been used by the artist in remixes of Lamb's Stronger and Slovo's The One. As an installation the Mayan Calendar is presented in its raw form, where the calendar is allowed to play for the length of the exhibit, day and night – no one point is sonically the same other than when all the calendars realign.

In his spare time Bug Compass makes his own acoustic and electronic instruments, makes field recordings, creates computer software for manipulating existing sounds, plays keyboards in live bands and as a session musician, and creates illicit remixes of pop music under the name Bingo Starr!
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Devices by bugcompass

bcResonCtrl Version 1.1
bcBypassFX Version 1.1.2

Comments by bugcompass

Comments

Update complete. Version 1.1.2 comes as an Audio and MIDI device, both identical, allowing to filter out the bypassing of devices by type.

Using the LOM you can use device DeviceType to get type 3 (audio or whatever) etc for a device in a track. Specifically what message is being sent to live.observer etc here, as if you try to do this in edit mode it immediately clears itself?

Version 1.1 will hopefully differentiate between MIDI and Audio devices on the same track. Please send feedback to miles (at) bugcompass.co.uk

This has saved me so much time. I added a getid message to the live.object to be displayed in the window too. Thank you for sharing. Really been using it a lot.

Updated device 11 Jan 2016

Thanks for your feedback. I have taken on board the previous sustain limitations.

I am tackling the enire MC-303 in MIDI mode now I have the syesex problems sorted.

I dug out my MC-303 fro =m teh loft today, swapped some jacks and cleaned with IPA, bit of a scratchy volume controll, bug tolerable,

I had built as a test a drum kit selector guided by the MIDI implementation and It works a treat.

Now for the life of me in the sound sources (ie. nondrum kit parts) SOME HAVE A VOICE column with a 1 or 2. As its years since using the 303, does anyone know what these are? extra voices? If so how do you access then in normal step sequening mode and also in sound module mode?

Or have I got the wring end of stick.

I aim to make all of the MIDI implementation available in Max4Live.

Any ideas?

Thanks for this patch,

Miles

P.S. five100 - if you want my work in progress for selecting the drum kits let me know and I'll send you a private link untul it is finished.

This is great, because you have very little dips in amplitude between speakers thanks to the [p logs]. I have spent a couple of days in this.

http://www.maxforlive.com/profile/user/Dildano makes some important points, which I have been stuggling with... how to split the stereo file / channel into L and R *at the start*, do independent Quad panning, I'm using "nodes" - two nodes activated, one for left and one for right, and then finish similarly to your [p logs]; although I would like to use the cycle~ method of sqrt in there instead.

At the moment I'm looking at resorting to having to use a Master(Left) and Slave(Right) i.e. 2 channels per clip.

Any ideas?