October 13, 2018
iii workspace, Willem Dreespark 312, The Hague
The 34th edition of the interdisciplinary performance series No Patent Pending  present new work by guest residents (me) and iii members.
A very nice intervieuw klick HERE
A live set with 4 strings and 6 sanding machine beta-testing our custom build dimmer for machines. Playing Geert-Jan Hobijn ,Wen Chin Fu and Anthony Blokdijk . This set was dedicated to Jeroen Grunwald
Ohm is more a side project with Geert-Jan Hobijn, Gijs Gieskes and Radboud Mens.
Each of us has build their own instruments that we bring.
This was our first show, we did not rehearse, test live on stage.
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We started the new year with a new set up. ‘One of each’ of the usual instruments and featuring some new arrivals.
Looked good and sounded better.
To orchestrate the installation we used “Sale Away Lab” our bespoke designed DMX control system.
This was a new step in our continuing development of how to install our work and a new exploration in creating an open way to play them.
staalplaat soundsystem was Geert-Jan Hobijn and Carlo Crovato
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“Blind Date”electroacústica/objetos sonoros Geert-Jan Hobjin, arpa/ Gwyneth Wentik
A sound machnes improvisation with Gwyneth Wentink (harp ).
soon more sound and images
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And a Kids Cobra Talleres construcion y Ejecucion de Instrumentos mecanicos
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And a presentation of our work as you can see by this nice analogue impression by one of the spectators
Commissioned by TodaysArt 2015, Staalplaat Soundsystem (for this occasion consisting of Geert-Jan Hobijn, Radboud Mens, Anthony Blokdijk and Bastiaan Maris) created ‘Zeero’, a very large organ of four steel tubes with a length of 24 meters and a diameter of 1 meter , sponsored by Van O0rd. Staalplaat used hot air balloon burners to create the sound sponsored by Ad Ballon. The hot air allows for air movement in the tube, generating a very very low tone.
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And it was mentioned on the ORF (Austerian national radio)
“Feuerorgel und Strandplattenspieler
Geert-Jan Hobijn von Staalplaat wird erzählen, wie es zu dem Bau der gewaltigen Feuerorgel “Zeero” kam, die mit ihrem tiefen Basssound den alterwürdigen Pier zum Erzittern brachte.
Danach wird Hobijn uns noch den idealen Strandplattenspieler vorstellen.”
At the Dutch GOGBOT festival we presened for the first time our new sequencer system.
Now we can play our machines live.
On the main square of Enschede a frame is set up round the local monument .
In this set up we placed:
12 bog boxes
10 metal grinders
12 vacuum cleaners (that play flutes)
9 jigsaws that play drum-pedals
lots of radio’s radio’s +neon
4 big flutes (2 to 5 meter long) and some drumming machines
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[soundcloud]
https://soundcloud.com/staalplaat-soundsystem/gogbot-staalplaat-soundsystem[/soundcloud]
On the Beach in Den Haag we will do the opening show for the Todaysart 15.
Our plan is called “Zeero” and it is a very large organ of four steel tubes with a length of 24 meters and diameter of 1.2 meters. We will use air balloon burners to create sound. The hot air allows for air movement in the tube, and that generates a very low tone.
here a video of our test
It will be a collaboration between staalplaat Bastiaan Maris, Radboud Mens and one more, (Charlemagne?)to be announced, artist
Invited by Netwerk for the Festival: StraatHerrie (literally translated ‘Street noise’) we did our concert in Aalst and used 16 sirens. (written for shiphorns)
I got the hand written score from Alvin and had it transcribed and then saved to Midi, we played it as DMX (with a self programed Max patch)
It worked very well.
We could not really tune the sirens to tones for if we took a low tone , the volume was just as low.
But we had different models and differences in distance to have variation.
 It was played on Werfplein (the town square)
.
The public response was very strong , first people came to ask if there was a reason and if they could see our permit.
Then local bar and shop owners came explain to us that we were bad for business and in the end someone trashed our recording set up (so we mis the last part).
I can not wait to do it again
a two minute sound edit:
[soundcloud url=”http://api.soundcloud.com/tracks/57844355″ iframe=”true” /]
Staalplaat soundsystem presented the installation/concert ‘Musica povera al dente’ or fluxYOU at the Intermediales Symposion Kiel
For the set up we had 19 hand driven turntables, made from siple neadle, paper horn andfound opbjects like a salad-dryer or yogurt box. Weput contact mic’s on the paper horns and used our ownthe white and transparent model loop-records. For the composition we tailored the frame work of Cartridge Music by John Cage and it was played with a set of 9 volunteers and members of the public.
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[soundcloud url=”http://api.soundcloud.com/tracks/27989531″ iframe=”true” /]
sound sample FluxYOU or Musica Povera al dente at Auditorium Rome 2010
[audio:http://www.staalplaat.org/snd/staalplaats_auditoriumroma191110.mp3]
“Fluxus Biennial 2010-2011”
Staalplaat soundsystem presented a new installation/concert ‘Musica povera al dente’ or fluxYOU commissioned by Fondazione Musica per Roma, Rome Auditoriumâ€
For the set up we build 20 hand driven turntables, made from siple neadle, paper horn and found opbjects like a salad-dryer or yogurt box. We put contact mic’s on the paper horns and used our ownthe white and transparent model loop-records. For the composition we tailored the frame work of Cartridge Music by John Cage and it was played with a set of 6 volunteers and members of the public.
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We were asked to do a Buddha machine remix and so did our own interpretation of the little sound box:
The Buddha machine has nine loops and we destroy nine machines in nine ways as a interpretation of Dick Raaijmakers Intona (1991) where he deconstructs 12 microphones.
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for the 9th September @ the staalplaat Berlin store I infited 4 children that ride 4 tricycles on each tricycle I mounted several radio’s and asked the kids to drive up and down the street (two on each side). I did bring my turn table out on the street that has 4 tone arms so I had 4 times stereo outputs connected to 4 fm transmitters and I did play one record . the kids were fast in down hill but not uphil and thay drove in one group. It was very nice and lots of fun, not sure about the music part.
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For the Beograd Dispatch festival
Staalplaat Soundsystem shows to the kids how they don’t need special Japanese plastic devices, but all they actually need can be found in their kitchen or storage, with a bit of research and modification. mixers, vacuum cleaners and appliances alike will go through a musical symbiosis with well-known children’s instruments.
we have done kids a workshop that consist of two main elements,
first developing and building instruments and second playing and presenting them in the context of a concert. Staalplaat soundsystem has experience in teaching children building instruments from old house hold machines like kitchen mixers or vacuum cleaners and all sorts of toy-instruments and other noise making things.
The workshop results in a performance of the kid’s, creating the “Belgrade Philharmonic Youth Orchestra”.
The orchestra was conducted on a simply dimmer-based system, the kid’s can use little voltage dimmers (that we bring) to control their instruments .
Workshop Kids-patch at Dis-patch Beograd 08
[audio:http://www.staalplaat.org/snd/WAV_kidspatch_impresion.mp3]
photo © bonie
We played a very nice concert at “La Terraza Suena” at the the roof top of the culture center La Casa Encendida
A photo documentation of the sold out show can be found here.
For the 2008 edition of the SPOR festival in Aarhus we were invited to play a 24 hour yokomono set (may 9 – 10, 2008).
Music takes place in time. This fact has been investigated and challenged over the years where composers have worked with repetition and ‘endless’ processes, with very long sequences or extremely short ones. But music does not only unfold itself in time. Music also creates time. When musical sounds follow one another they provoke a particular sensation of time. Our experience of musical time depends both on that which sounds, the nature of the sounds and their connection with one another, while at the same time the experience is subjective and influenced by the circumstances in which it is experienced.
SPOR 2008 will explore and place emphasis on precisely these experiences with and over time – both musical time and the time that elapses during the course of a day. The framework for SPOR 2008 is at the same time a social action. The festival concerns itself not only with the relationship between work and listener but also between the listeners themselves. Instead of announced concert-times it will be personal choices as well as the public’s exchanges with one another that generate their flow through the festival. The public is challenged to lay out their own festival route, to go on an expedition of exploration in Musikhuset Aarhus (The Music House) and challenge the natural rhythm of the day – don’t forget your sleeping bag!
SPOR 2008 presents a wealth of orchestral music, performance, sound-installations, video-art and electronic music. Experience, amongst others, Vienna Vegetable Orchestra (Au),Staalplaat Soundsystem (NL), asamisimasa (N), Rebecca Saunders (UK), Hanna Hartmann (S), Curious Chambers Players (S), Brandon Labelle (US/DK), Carl Emil Carlsen (DK), DYGONG (DK), SCENATET (DK) and Aarhus Symfoniorkester (DK).
For the Octopus festival in Paris (may 2nd 2008) we developed a new version of our avantilator performance using parts of the architone concept and other machine instruments.
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We performed yokomono on april 25th 2008 at the beautiful goethe institute garden in cairo.
The 100LIVE festival was organised by mahmoud refat the founder of the 100copy label
MUSICIANS: adham hafez, bikya, croce massimo, hassan khan, magdi mostafa, mahmoud refat, ramsi lehner, staalplaat soundsystem, tarek atoui
staalplaat soundsystem together with akuvido played a sonic wargame sessions at clubtransmediale 2008.
… In a quadrophonic arena the battle for audibility is raging. While the referee keeps an ear out, musical gladiators engage in combat with an arsenal of electronic weaponry. Sonic Espionage, in-Filtration, Atonal Behaviour and Hostile Overdubs, it’s an ear for an ear…
Sonic Wargame, created by Dutch sound artist Xavier van Wersch, is a musical game for four players, or four teams of players and a referee. The players are positioned on platforms in the corners of the space. Each player has a game console and a loudspeaker, while the audience can move freely around within the set-up. Sonic Wargame is a hybrid between a living installation and an interactive performance.
On the 2nd October we took part in an evening of musikprotokoll featuring the FM3 Buddha Machine we were asked to do a Buddha machine remix and so did our own interpretation of the little box:
The Buddha machine has nine loops and we destroy nine machines in nine ways as a interpretation of Dick Raaijmakers Intona (1991) where he deconstructs 12 microphones.
The idea for ‘Yokomono White’ was made for the Avanto festival in Helsinki but never realized nor tested.
“Yokomono white” is just old turntables with paper tubes (for children when they go the first time to school) and a pin
this is a experimental version live tested on stage in conjunction with Hassan Khan.
The piano sections included in this performance were composed and recorded a couple of months ago in podgorica by Hassan Khan. These simple compositions were interested in structure and architecture- the way a proposition is stated and developed. The recording was done behind the firewall of the national theater whose wooden floor and extremely high ceilings provided excellent natural reverb. Segments from these recordings are rearranged to provide a structure for a live improvisation session using live feedbacking mixers, a battery of filters in conjunction with staalplaat soundsystems’s vinyl loops library and turntables.
Hassan Khan works with image, sound, text, music and concept. His album tabla dubb has just been released on the 100COPIES label. Khan lives and works in Cairo, Egypt.
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We played a YOKOMONO in Maribor/Slovenia on the 10th of may at 13th International Festival of Computer Arts http://www.mfru.org .
The program “crossings” of this years club transmediale was dedicated to encounters and collaborations between musicians from the Middle East and Western Europe. In times of growing polarization and mutual paranoia, the importance of building cultural bridges of this sort increases. Opportunities for new insight and understanding also increase however, because the palpable urgency of critical times leads to a greater willingness for debate. … (ctm)
The point of departure for the performance together with the electronic musician, Tarek Atoui from Beirut is an as yet unpublished tape, by the 1999 prematurely deceased British musician, Bryn Jones aka Muslimgauze.
foto: normbxl
