Custom Electronics

---

The bait & tackle  and lunch boxes were used in Cézanne's Doubt to control real time audio signal processing.  They were created by Kent Clelland, who programmed and performed the audio processing during live performances.

Balance modulator distributes data to an Ensoniq DP-4 effects processor.  

Nic Collins' envelope follower: amplitudes of the clarinet, trumpet and cello are used to control parameters of modulation.

The teleclarinet was conceptualized and designed for Yes, Philip, Androids Dream Electric Sheep, to control resonance filter changes amplifying the center frequencies of tuned multiphonic dyads in real time.  As both a superior Bb clarinet and an ergonomic computer interface, it was programmable for any signal processing purposes.  

Woodwind multiphonics require unconventional fingering combinations and embouchure adjustments,

 and therefore a computer program required on/off signals from each key and tone hole to be implemented. 

Copper tape was applied around tone holes, closing a circuit against silicon pads with silver particles; tiny light sensing diodes were set by tone holes with no keys; wiring was channeled to a connector above the thumb rest and a ribbon wire.

The ribbon wire connected to an FPGA processor, which was connected to a computer serial port, circa 1998 :)

The clarinet is a Buffet R13 I purchased from Jim Rohrig, who played for the California Ear Unit; Steve Roberts, a legendary clarinet technician in the Los Angeles area, helped with modifications; Michael Rothman designed the FPGA board and programming was done by Kent Clelland.  It was used for the premiere of Yes, Philip, Androids Dream Electric Sheep at Bremen Pro Musica Nova 1998.

Yes, Philip, Androids Dream Electric Sheep may also be performed on a normal Bb clarinet with electronics controlled by a second performer, as it was by Brian Walsh (clar) and Scott Cazan (e) at Monkspace (Los Angeles).