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| Krispen Hartung a.k.a. Kris , a.k.a. K |
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| info@krispenhartung.com | ||||
| url | http://www.krispenhartung.com | |||
| address | 1810 W. State Street #226, Boise, ID (USA) 83702 | |||
| phone | 1-208-724-5603 | |||
| about | Krispen Hartung's 25-year musical background is an experimental and continuously evolving road trip marked by many excursions and detours - from classical guitar, progressive rock, and world-beat, to fusion, traditional jazz, and avant-garde. In 1993, Hartung began studying the method of real-time looping, the technique of digitally recording live performance, playing it back in real-time, and repeating this process indefinitely to produce multiple layers of interweaving and complimentary guitar parts. Since then, he has become Idaho's leading and most prolific member of the international looping community Looper's Delight. Hartung's debut solo CD "Places" was released for sale world-wide in April of 2004 and consists of a series of colorful, innovative, and thought/mood provoking looping compositions that he improvised on the acoustic guitar and recorded on the spot in one take. As a result of his diverse background and studies, Hartung now exhibits a dynamic and atypical performance style that integrates multiple genres and integrates his own personal genetic code into the world of creative music performance and composition. He now performs exclusively with the notebook computer, MAX/MSP, and Reaktor, often times with only voice or the 6-string mandolin. Since his debut solo release, he has produced seven additional CDs, including he most recent, "Mandolin from Mars", a colorful and complex exploration of the 6-string mandolin and laptop computer. This work weaves a fantastic story of the "red planet," babbling mountains, and menacing telepathic messages from the ancient chimera of HP Lovecraft's Cthulhu Mythos. | |||
| Krispen Hartung coordinated these CT projects: |
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The copyright to each song belongs to the respective artist.
Right-click audio player and then click "save as" to download a track
| The Ambient Wasp |
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| A friend of mine was able to capture a wasp in its nest before they hive went dormant for the winter. I put the wasp in a small ceramic jar and covered it with GLAD "Press and Seal",a stretchy Saran wrap like substance. I then punctured holes in the Saran wrap with a needle so that the wasp could breath and I could capture its sound with a microphone. I then proceeded to severely irritate the wasp by shaking the ceramic jar and then placing a SURE SM57 mic just a few millimeters from the top of the Saran wrap. I repeated this and recorded the output into an RME Fireface 400 and my laptop computer until I had several minutes of recorded material. After this, I mastered the wav file with Steinberg's Wavelab and WAVES, bringing it up to a reasonable level, and added some compression to eliminate major spikes, and also used some parametric EQ to reduce some of the extreme frequencies. This file became my raw material for processing in max-msp and Reaktor. The interesting thing about my recording of the wasp was that I captured many more interesting sounds than just the irritated wasp. The wasp spent a fair amount of time clinging to and crawling along the underside of the Saran wrap. This produced some fascinating percussive, clicking sounds, which added a whole new dimension to the sound of the insect. I created two separate processed file from the above raw recording of the wasp. In both cases, I played the file inside max-msp and processed the sounds. The first file was processed Reaktor and the ensemble called "Blackbird." It added layers of octaves, delay, and panning to the sound that yielded very rich and large ambient textures. I also manipulated some of the effect parameters in real-time while processing and recording the file. When I mastered and dithered the file, I also added some 3-D spacialization effects with WAVES. The second file was processed with my own max-msp patches, various modulation, reverse delay, pitch, granular, and random effects. I processed the file in real-time as it was playing, and recorded the output to disk. After the two separate files were processed and mastered, I mixed them together into the final master file. |
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| Nuthatch |
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| Gear: Epi "Roadie" mini electric guitar, max/msp, Lenovo ThinkPad T60p, RME Fireface 400 Approach: I mixed and mastered two separate recordings of the Red Breasted Nuthatch to a wav file, and then I played the file inside max/msp. While the file played, I applied a random effect patch that I wrote, which randomly applies any of my 20 or so effect patches, and morphing them; I also added a random FM synthesis percussion patch that I also wrote in max. I recorded this first mix direct to disk in max. Then I play that file back in max, and improvised over it with the guitar....free jazz style, basically |
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| Astrophonic Dreams in the Tube |
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| 6-String mandolin, Lenovo ThinkPad T60p notebook Computer (2.0GHz Intel core duo), Reaktor 5, Mobius live looping Software, custom MAX/MSP generated VSTs | |||||||||
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| insectoid moxie |
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 write a feedback for one of the above tracks
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