Wednesday, June 19, 2019

3D Printing of Musical Instruments: Images, Technologies, Whitepaper & Recording

3D Printed Sax and Trumpet

I recently posted a recording on SoundCloud (see below) which was inspired by my research into 3D printing of musical instruments.  

3D Printed Flute

MIT Media Lab

A visit to MIT Media Lab in Cambridge, Massachusetts was a trigger to allow me to investigate the possibilities of incorporating such instruments into a recent commission.

3D Ideated Valve Instrument

3D Printed Violin

Paper Written by Arvid Jense (Link Below)

I am attaching a link to a PDF from Arvid Jense at the University of Twente which provides an excellent overview to this nascent, radical technology.


Milford Graves
My Recording on SoundCloud:  “Equivalent Ideation & Lost Gill-Slits” (2013) using 3D Printed Instruments

Bil Smith Composer

For Two String Quartets and Two Jazz Quintets featuring:

Quatuor Diotima (::discourse::) Radikant; Oliver Lake (Saxophones); Roscoe Mitchell (Woodwinds. 3D Ideated Instruments); Bil Smith (3D Pocket Trumpet, Flugelhorn, Percussion); William Parker (Bass); Amina Claudine Myers (Piano); Milford Graves (Drums, Percussion, 3D Ideated Instruments)

T’Ang Quartette; Evan Parker (Saxophones); Manfred Schoof (Trumpet); Maarten van Regteren Altena (Bass); Alt Koom (Percussion)
Han Bennink (Drums, Percussion)

Recording: Funkhaus Nalepastrasse, Berlin. March 12, 2013

The genesis of this composition emanates from my early music experiences as a free jazz trumpet player. Ornette Coleman’s Double Quartet and the seminal recording “Free Jazz”; Horatiu Radulescu’s musical treatise “Sound Plasma” and artist Mark Rothko all have a profound influence in the evolution of this work.

Listen On Soundcloud:

Sunday, June 16, 2019

"The Oligarchy" Bil Smith Composer The Recording

"The Oligarchy" Bil Smith Composer
The Recording:
"This may be Bil Smith"s most revolutionary message, I think, it is also probably his simplest: the subject must take responsibility for his own subjectivity.
This is a message nobody wants to hear. Especially not today, when the drink of choice is postmodern skepticism: "I am aware of what I am doing but I do it anyway." Smith takes aim at the post-structuralist, the postmodernist, the post-whateverist, the empty Foucauldian fad, the politically correct, the practicing non-believer, the all-too-comfortable victim, and then he throws lots of vegetables at their big silly phallic performance.
Let's remember what his music surmises.
Smith, is very good in his particulars and has a consummate grasp of the great composers of the modern age.
Musical ideology for Smith (the theoretical Multimodality and Compaction themes) is something that is constantly spat out, in contradistinction for whom it is all subsumed, refined, and processed into knowledge which, is solid as a Slovenian sausage and as unsavory in its mode of production.
For him, there is no sublime except in the twilight of life's contradictions, where concepts of being and time are turned on their heads like salt and pepper shakers.
Again, as we listen, we are startled by Smith, the composerist's itemized insights as much as we are baffled by the way he waffles between abhorring and embracing popular culture and between expostulating and identifying with advocates of sonic democracy.
In all, this recording is like an old roller coaster beefed up with modern metallurgy, and wanting more of that; but at its best down deep, dips where the wood shakes."
-Richard Wilde

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