The last 胎動パフォーマンス10.0.0 (Taidou Performance 10.0.0) will be at merdre (Fuchu) on Sunday 9 June. There will be a BBQ before and the other live acts will be pagtas & suzueri.
Details TBA !
The next 胎動パフォーマンス9.1.6 (Taidou Performance 9.1.6) will be for ObakeYashiki in bar GariGari (Ikenoue) on Sunday 26 May . We will perform with Jahiliyyah !
The Ningen Dogs Orchestra will be participating to the 混浴ゴールデンナイト！in 東京.
open 17:00 start 18:00
中村 ゆい (Yui Nakamura) solo
康 勝栄 + 大城 真 (Katsuyoshi Kou + Makoto Oshiro)
人間ドッグオーケストラ + ユタカワサキ (The Ningen Dog Orchestra + Utah Kawasaki)
鈴木康文 + biki (Yasufumi Suzuki + biki)
at pool ( Sakuradai / Tokyo )
Live in Kyoushima Apartments !
* ASTRO (ex C.C.C.C.) + Rohco
* 大城真 (Oshiro Makoto)
* 矢代諭史 (Yashiro Satoshi)
*Les Belles Noiseuses （23N!）
Food: cafe ûma、清島BBQ
静寂を舐めて/Lick the Silence 3rd edition
open 1:30pm / start 2:00pm / end 8:00pm
* Lacy Foundation (Huw Lloyd – contrabass clarinet, Chris Koh – violin, Dan Hegedus – vocals) / ASTRO (Hiroshi Hasegawa – analog synth) / Hiroshi Shimizu (percussion) / 濁朗 (Kenji Kuroda – analog synth) / a qui avec Gabriel (accordion) / Bazl Whammy (composition, conducting).
* Ezra & Yousuke Fuyama
* Kenji Karyuu
* Les Belles Noiseuses
DJ: Martyn, Evil Penguin
Visuals: 最後の手段, Yousuke Fuyama.
Catering: café ûma
Les Belles Noiseuses.
“Hideous Talisman of Lust”
9/8 at HIGHTI http://highti.jugem.jp/
ニックホフマン + 神田聡
Nick Hoffman+Satoshi Kanda
Stephane Shibatsuji-Perrin “Les Belles Noiseuses”
Makoto Oshiro+Minoru Ide
New-Method (Takahiro Hirama, Shogo Baba, Masaru Kaido)
The Ningen Dogs Orchestra is Utako Shibatsuji-Perrin, Stéphane Shibatsuji-Perrin & HIKO.
* HIKO (GAUZE) vs 大分の族車!!! (Bosozoku from Oita!!!)
*人間ドッグ・オーケストラ (The Ningen Dogs Orchestra)
* DJ: rookow (ReNTReC.)
9月1日 open 19:30 start 20:00
advance 2000yen + drink
door 2500yen + drink
With finally a first track with my project “Les Belles Noiseuses”. It’s here !
Here is the link: Even Stilte. There are three releases available for the moment (more later) both as physical releases (CD) and as downloads (no individual tracks though). The purchase of a CD album includes the immediate download of the album.
Now showing at merdre: Elegy to Analog TV.
I’m exhibiting a work that is based on my project TV BUG and integrates some of my new work Tape/Time Wasted.
My next show will be for Psychic Menagerie 12 (organized by 濁朗 (Darkraw) & L’eclipse Nue) at What’s Up in Uguisudani (I’m feeling nostalgic !). I’ll perform as Les Belles Noiseuses (my first solo with this project!).
Psychic Menagerie 12
Sunday 5 August
PRICE: 1000 yen
Les Belles Noiseuses
Mone￥ Is God
Dead Pan Speakers
Looking forward to hear all the submissions to the noise compilation Signal Void that sounds amazing!
I’ve done two submissions, as 23N! (fussssha) and TV BUG (golana).
After playing a while with DDS (Direct Digital Synthesis), let’s see what we can do with PCM (Pulse-Code Modulation). Simply said, PCM is just a way to digitally encode analog signal (in our case, sound). PCM has two parameters, sampling rate and bit depth (resolution).
So what is the difference between DDS and PCM when it comes to generate sound with an AVR ? Basically nothing, as in both cases the signal is represented digitally and then a DAC (Digital Analog Converter) is used to generate the analog signal itself (for example, a sound).
The difference is mostly in the nature of the sound to be generated. PCM is used to represent any analog signal digitally. The longer the signal the more samples are necessary. In the case of AVRs, it means that the length of the signal that can be represented with PCM is rather limited as the memory is relatively small.
DDS is particularly adapted to periodic signals. That is why it is mostly used to generate waveforms. So if one wants to play sound samples (voice for example), PCM would be more adapted. If one wants to do a synthesizer, DDS is the way to go.
The other difference is that PCM has a sampling rate that can be changed to vary the pitch. While in the case of DDS , the sampling rate is basically constant. To change the frequency of a waveform, more or less samples are read but at a constant sampling rate. This technic is not adapted for PCM as for example, to read only one sample every two samples (increased frequency) means a loss of information that can make the original signal unrecognizable (especially in the case of voice).
In the case of DDS, the sampling rate is usually high (higher than the largest frequency in a typical sound signal) and thus, a single timer to generate both the sampling rate and the PWM (Pulse-Width Modulation) can be used to generate the analog signal (one cycle of PWM for one sample, the sampling rate and the PWM frequency are the same). In the case of PCM the sampling rate is usually low (a lower sampling rate means less samples per second, that is less samples in memory, but a lower sound quality) so using PWM at the same frequency that the sampling rate to generate the analog signal is not possible as one would “hear” the PWM signal. In this case two timers are necessary, one to generate the sampling rate and a second one to generate the PWM signal at a much higher frequency. That is for one sample, there will be significantly more PWM cycles. To play a PCM sound sample, you just have to encode it at a low sampling rate (8kHz for example) and with 8 bits resolution (this is the resolution of the PWM on attiny85 and a lot of other AVRs). Next time I’ll post an example of PCM code for the attiny85. In the meantime, you can check this example or this tutorial.