How does beardyman do it

Moving images and hidden systems — Session 2 moved into the world of the unexplored. Listen for an exploration into the secrets of cities, find out how the elusive giant squid was caught on film and hear a case for the virtue of ignorance. The speakers who appeared this session. Click their name to read […]. You have JavaScript disabled. Menu Main menu. I can get very lost in musical geekery. But I want it! The Album in an Hour songs I improvise one by one, with no planning.

By recycling small sections of the track indiscriminately I can give a magical feeling. I can play with tropes. I like people to think, What the fuck is it? Every genre has foibles that I can embrace. Metal crowds throw bottles of their own piss at you if you suck. At my gigs, someone can shout out a song title, and I can improvise the lyrics and song content with the Beardytron. Anyone can do that in theory, but there was a technological gap to close to make that happen in reality. I want to create house and drum and bass together, but the rhythms are different.

So now I can take a snip of the final output of drum and bass, and change the rhythm so they fit together. I can do transitions between genres like no one else. Music is a huge set of tools, canvasses, points.

There are so many mindsets, and I can playfully piss about with the whole scene, which people give thin lines to. Choosing pieces is like a Mandelbrot Set. I create ten universes per hour! What is your experience of working with live audiences for One Album per Hour? Whether the audience is sitting or standing matters much more than the time of day, when asking for song recommendations. In Scotland people do drink more heavily — the late Edinburgh fringe audience is completely scatalogical.

On Sundays before dinner I get nothing from the crowd. The metal world has very specific musical lines. If you merge genres, you have to fight influences. After two hours of jamming, I play with different sections, and improvise. I can start ideas on the Beardytron. One artist that Beardyman admires, Imogen Heap, has also encountered obstacles to her creativity. Hers is a bit more feminine and graceful. Gamble also built products for Focusrite, Novation, and others.

Beardyman says he needs more than a dozen instances of Turnado to create live productions that compete sonically with popular studio recordings. Helping him drive it are three iPads, two of which control the Beardytron and one that uses apps for extra noises. According to Beardyman, the biggest challenge of building the Beardytron was implementing a looper and effects with minimal CPU drain and latency.

On that topic, Beardyman is particularly guarded. Applying for a patent is so expensive. But I do want to make this thing available to everyone who is a looper or wants to do looping.

That said, Beardyman offers a few clues about what makes his system so powerful. Almost every week, Beardyman and Gamble meet up to see where they can streamline the Beardytron mkII. Beardyman is secretive about the Beardytron looper. While creating the looper, Beardyman and Gamble had to make tons of small decisions. How many times can you undo or redo?