Scot Gresham-Lancaster: My Relationship to Music through Technology: A Chronology
1969: Lenkurt Scholarship in Electronics Learned transistor theory and IC op amp built Theremin for Science Fair Project
1972: Ravenswood Experimental High School attended Mills College graduate program studied with Bob Ashley, Terry Riley, Bob Sheff AKA "Blue Gene" Tyranny William Miraldo Supervised the installation of modest Moog based studio
1974: Stanford Summer program in Computer Music lived in a house with "Tovar" and Mark LeBrun studied with John Chowning early FM on SAIL system first versions of SCORE
1975: Computers in the Arts and Humanities at SF state FORTRAN Programming with overnight batch processing Music 5 Graphic design on Cal Comp plotters Basic Programming for stochastic pitch classes
1976: Virginia Commonwealth University built IMSAI 8080 s100 bus system with Cromemco 8 ch dac/adc built 10 panel Tcherepnin (later Serge system) first phone contact with Serge wrote op code based assembly language program for interface switch based input used analog cv mixers to route dac outputs experimented with video delay systems
1977: University of California at Santa Cruz worked with David Cope exchanged composition for computer lessons He used my 12 tone Basic program in "New Directions in Music" Wm Brown pub. Used Basic on pdp 11 to generate stochastic pitch classes for "Styx"
1978: Los Angeles Serge Modular Music systems developed z80 based cv sequencer worked with Darrel Johansen on Synertek Sym SBD Dseq trigger programming language construction of large modular music systems Rho Sigma Solar Energy Control system Programming in Forth on AIM 65 computer system Federally funded heat pump and pyrometer project design of analog/digital hybrid system for measuring BTU's repair of analog thermal switch array
1979: Los Angeles Oberheim Electronics Production technician reworked Dave Rossum's polyphonic keyboard electronics designed automated testing system for analog electronics on z80 based S-bus system worked with Jim Cooper on the original Xpander project 6809 based S-bus system encoder knob circuitry reworked failed units from production line Los Angeles Institute for Contemporary Improvised Music first live interactive performances with electronics and musicians the Eye Gallery on Wilshire Blvd. Sym/Serge controlled guitar feedback in "Interlock" interactive installation at the Otis Art Institute patron's triggered changes in ambient mix in gallery Ice House Dseq controlled rhythmic structure of live music used early prototype of OBXa Serge signal processing of other players
1980: Marin County Audio Images Apple II based computer synthesis system used 6522 and General Instruments synthesizer chip programmed in Forth Professional Audio Equipment repair and studio design on call to area studios to repair problems with consoles and tape recorders worked daily on the repair of electronic music instruments maintained and calibrated analog tape machines
1981: Mills College built interface for Buchla MARF designed custom board to control MARF from standard Centronics Port specified and constructed of ERG box 68000 based S100 system with FORTH in ROM Michaelangelo monochrome display 640X480 Data Acquisitions Inc. 32 ch DAC/ADC
1982: Mills College Supervised the design and development of Hang Glider based musical instrument NASA created instrumentation to detect ionization above wing tips and nose Tim Perkis's Casio hack (pre-MIDI) on keyboard switch array Hercules wireless mic transmitter (weak point of instrument) performed three times twice at Fort Funston (San Francisco) once at Torey Pines (CME 1983) Rebuilt the Center for Contemporary Music Studios rebuilt failed 12 ch Sculley 1 inch based recording studio poorly maintained facility upgraded Designed and built Gesture mapping glove based on the work of Dean Sandine and associates at Univ. Illinois uses light pipe technology still used in VPL data glove
1983: Mills College Collaborated in the development of BIRD the first prototype of what became HMSL integrated ideas of Hierarchy and user extensibility specifically for real time interactive performance Main Technical Advisor for the "Pleides Project" prospectus Budget for building the 2nd largest radio telescope in the world facility planned to be full scale music research facility Integrated design of both scientific and artistic computing see Pleides Project prospectus, Cope, University of Calif. Press
1984: Mills College Designed and built Apple II based "Listener" circuit Hardware bandpass filter bank Hardware envelope followers Forth based software statistical analysis of instantaneous spectrum Forth based software control of 4 ch. DAC to control analog synthesizer used to control guitar feedback in "Interlok" (audio example) Macintosh based software development for just intoned guide tones included with Lou Harrison's "At the tomb of Charles Ives" (Schirmer) Used by Rosenboom in the recording of "In the Beginning" on the "Music at Mills" lp set detailed technical notes published in the proceedings of the ICMC in Vancouver Macintosh based software development for "Morphological Filter" detailed technical notes published in the proceedings of the ICMC in Vancouver see "Macintosh as Interactive Composer's Tool"
1985: Mills College Designed and built custom microphone system for George Coates Performance Group design optimized the use of low cost electrolytic mic computer controlled gating sought feedback squeal Developed "Food Chain" with Richard Zvonar premiere use of commercial MIDI software in interactive network environment early use of real time sampling in a live performance environment
1986: Mills College Helped in the development of the 1st "HUB" 2 SYM single board computers linkable by modem allowed linked performance between two concert sites created a new genre of "Interactive live computer network music" Technical Liaison for Pauline Oliveros' "Moon Bounce" project developed technical requirements to bounce radio signals off the moon with the cooperation of SRI in Menlo Park, CA worked up detailed plan for using Mars mapping telescope on the Stanford campus. coordinated contact with Ham radio operator in Maine that was eventually used via telephone for performance in New York
1987: CSUHayward FORTH based interactive music instrument with Chris Brown real time capture of parameters multiple controllers used to control loop starts and endpoints for each parameter remapping and scaling of control parameters Developed 4 year planned curriculum in Music Technology Digital and Analog recording techniques MIDI concepts including sequencing and algorithmic design Music Notation Software
1988: CSUHayward Designed and built whackers 64 channel percussion robot 1 Amp per solenoid channel HMSL based instruments remaps midi note events to solenoid note num. = whacker # vel=period and intensity of hit The HUB CD on artifact cut 5 "whackers" Consulted on the development of Uforce controller for Broderbund Infrared based 8 channel proximity detector 8051 micro controller with synchronous serial interface failed as Nintendo game controller
1989: CSUHayward McCall.DEM (terrain reader) with William Thibault based on notions put forth by Rich Gold see "Foundations of Computer Music" MIT press USGS digital elevation models used as compositional determinate pitched particles bounce on terrain (NeXT objective C) travelers define just intoned paths that sing the elevations (Amiga and NeXT) MIDI travelers reflect path in parameter changes whackers represent texture as changing rhythmic structure see detailed technical description in ICMC proceedings 1992 Premiere performance at Experimental Intermedia Foundation NY, NY as part of New Music America '89.
1990: CSUHayward Multi-dimensional parameter controller using tensegrity objects based on Buckminster Fuller tetrahedral tensegrity strain gauges at all 12 vectors scaled into 12 ch ADC New Micros 2x4 SBD converts force scaling to MIDI based on ideas present in the WEB instrument at STEIM
1991: CSUHayward Developed HUB 2 MIDI interactive computer music network hardware based around Op Code Studio 5, 68000 based 16 port MIDI interface allows discrete remapping of MIDI information to individual ports port 2 ch 7 in arrives at port 7 as ch 2 developed as part of an Artist residency at Mills College
1992: CSUHayward Interface for multiple Uforce to MIDI controller 8 discrete channels of proximity detection New Micros 2x4 SBD converts 8 synchronous serial to MIDI developed at STEIM in Amsterdam Songlines.DEM installation at ICMC San Jose Integrated Uforce instrument with earlier software added real time projection of SGI Indigo graphics investigation of trance states with 4 day continuous performance
1993: CSUHayward Internet "radio" feedback experiments with Bill Thibault used 8-bit uLaw .au format TCPlay utility provided use of satellite Macs used between "distance learning" sites at remote Contra Costa campus and CSUH Disclavier "Chaos" pieces written in Max use mechanism to dampen MIDI feedback VEX with Alvin Curran performed in Berlin 6-93 see Wreckin' Ball 2nd HUB CD
1994: CSUHayward... Exploratorium installation of "Terrain Reader" fully integrated X Windows version in development WWW Hypertext markup version in development http://www.cs.mcs.csuhayward.edu/~tebo/Web/terrain.html Audience participation with Home Infrared remote control multiple infrared transistors summed from locations in audience vocabulary established from controllers brought by participants flexible and user (i.e. artist) extensible development to be finished this June at STEIM