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Music Production: Maurice Rickard
01/07/2017 Maurice Rickard: Weekly Compositions, 2017

The 2016 Weekly Beats run has come to an end (and I did do 52 pieces, plus others for a total of 83 tracks this year totaling 9 hours and 21 minutes). Some people from that community and elsewhere have picked up for 2017 with a commitment on Streak Club, a site that helps people track regular commitments for production or self-improvement. It's a cool idea. Our streak is here, and I have one up already (as onezero).

12/31/2015 Maurice Rickard: Weekly Compositions, 2015

Once again, I managed to do 52 compositions in a year (posted to SoundCloud), and many of them are pretty good. In April, I finished my Res-O-Glas guitar build, and started using it. Mid-summer, I bought a wah pedal, and then started turning out funk tracks. Some of these might even be worth releasing. Stay tuned.

(Actually, due to a one-week break before Weekly Beats 2016 picks up again...I'm doing a 53rd piece this weekend. Total weekly output so far: 105 pieces.)

07/11/2014 Maurice Rickard: Installation at the second International Conference on Deep Listening

Another immensely rewarding Deep Listening conference at RPI--excellent speakers, informative and immersive sessions, and great to reconnect with other Deep Listeners. I did an installation in the hallway outside of one of the studios, in which I had a couple microphones going into a Pd patch I'd written, which dynamically changed the pitch, delay, and quad-panned position of each sound. Anything you'd put into it would come back changed, unpredictably. Since I set it up in the hallway, anyone going through could interact with it--it was pretty cool. It behaved reliably, but only freaked out once: when Pauline and Ione were making sounds to interact with it. That was interesting--they were definitely bringing another level of energy to this, and it was a great thing to witness.

01/15/2014 Maurice Rickard: Weeklybeats 2014

I've been a bit quiet on the public performance front apart from two snwv installations in 2013 and one performance (guitar and Pure Data), but I've been active in composition and recording. Now it's time to be more public about it, and at the end of 2013, I heard about Weeklybeats, a voluntary commitment to write and record a new original song each week during the year. So I'm doing it!

My pieces can be found at weeklybeats.com/#/onezero, so go over and listen. This first one, "Beach Lab," is named that for its tropical feel (it's winter here; wishful thinking) and the hovering presence of Stereolab. It started as a little sketch in Ableton Live as a simple beat in Impulse with the trusty TR-606 samples, and then adding some Ableton Electric instrument over the top. Since I've also picked up the Lemur app, I thought I'd play with one of the algorithmic controllers, and added some randomized Electric playing an enigmatic scale. I let that sit for a day or so, and started adding more rhythms in other Impulse instances (808, K3M, percussion, MK1), more melodic Electric parts, and finally some guitar.

I tried a bunch of these snippets against each other, found some that worked, grabbed subsections of things that went on too long, figured out the best combinations, added some variations, and used Live to record the different ones I triggered. A few editing sessions brought it down from a too-repetitive 10 minutes to just over 7, and here we are. Let me know what you think.

02/13/2012 Maurice Rickard: Live at the Thunderbird Cafe 11/9/11

I thought I'd try a new approach with this one: no guitar, and two synths as the sound generators. So I wasn't completely on new ground I figured I'd do the Bureau of Nonstandards working method and remix on the fly in Ableton Live. I've been listening to a lot of beat-oriented stuff, and considering how abstract the synth can get, it seemed like a good idea to have some strong beats to drop in, but some preliminary tests sounded like they wanted a kind of post-human broken-machine-talking-to-itself fractured beat--the kind of thing that makes sense after some repetition, or after it's heard against some other context. So I worked up four or five channels of different drum machine sounds (secret weapon: Kawai K3M bass drum) and broke the patterns apart, across channels. I could mix and match fragments, have them at different lengths and sounds for variety, and have something for the audience to grab onto. Synths: Bleep Labs Nebulophone (mostly in Hypernoise mode) and Moog Filtatron.

The set itself seemed like a swimming upstream: In the event, the synths we doing different things than I had done in rehearsal, and I had to roll with that but it held together. It was great hearing the massive bass drums through the club's subwoofers. And apart from one screwup (I hit the timeline and stopped the Live set in the middle), it worked. People dug it. I fixed that mess up in post, extending that piece.

Now I've put it out: http://mauricerickard.bandcamp.com/. Give it a listen.

Update: here's some press from fine electronic music sites Matrixsynth and Analogik!

09/03/2009 Maurice Rickard: Live at WRCT, 9/03/09

Not a bad show, though perhaps betraying a lack of quality time with my performance setup: some of Live's behavior was a bit annoying in this context (resetting audio channel inserts to their default state when I changed scenes, rather than keeping them consistent with the last change--it makes logical sense, but wasn't what I needed in the moment). More annoying, I'd not really absorbed my last-minute decisions about what piece should go where, and ended up triggering a demo I'm still working on, but which borders on the trite in places. Since I triggered it, I just went ahead with it, but it wasn't ideal. Similarly, the winging-it approach to the set list was not the best move; the set was disjointed in a way that didn't work. Other low points: uke drifting out of tune, Kalamazoo E-string out of tune, and the inevitable distractions of getting everything to work together.

So what went right? WRCT staff were just great to work with, and it was nice to see Michael Johnsen and Margaret Cox there before the set. In the set itself, I got out of my own way occasionally, like in the Rhythm Ace piece, where I felt the on-the-edge-of-overload guitar speaking clearly, and extended the piece to follow it. Admittedly this might have become tedious for the casual listener.

Contact:

You can buy my music right now over the 'net at onezero music-- instant music at sensible prices. You can check out free samples before you buy, and there's a discount for buying full albums or EPs.

If you like shiny discs, CDRs are also available. Click below for details:
Interstellar Radio
snwv: Interstellar Radio
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Howlers
snwv: Howlers
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Live at Black Forge, January 2, 2016
snwv: Live at Black Forge, January 2, 2016
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Output
snwv: Output
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Live, November 5, 2015
snwv: Live, November 5, 2015
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live at the Garfield Artworks, July 27, 2014
snwv: live at the Garfield Artworks, July 27, 2014
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Troy
snwv: Troy
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impulse
snwv: impulse
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Live at the Thunderbird Cafe, November 9, 2011
Maurice Rickard: Live at the Thunderbird Cafe, November 9, 2011
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Wave Space, Cleveland OH, September 16, 2011 4?:?34 PM?-?5?:?37 PM
snwv: Wave Space, Cleveland OH, September 16, 2011 4?:?34 PM?-?5?:?37 PM
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snwv
snwv: snwv
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Music for Dance
Maurice Rickard: Music for Dance
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Tell Ya One Thing And Then Some
Maurice Rickard: Tell Ya One Thing And Then Some
$5.00 US; $7.00 World.

Death Pig (Live, July 2, 2003)
Death Pig: Death Pig (Live, July 2, 2003)
$5.00 US; $7.00 World.

Circuits of Steel Tour 2003: Chicago, St. Louis, Muncie
Maurice Rickard: Circuits of Steel Tour 2003: Chicago, St. Louis, Muncie
$5.00 US; $7.00 World.

Guitar Clouds
Maurice Rickard: Guitar Clouds
$5.00 US; $7.00 World.

Lady of Pain: Live, June 2, 2003
The Unindicted Co-conspirators: Lady of Pain: Live, June 2, 2003
$5.00 US; $7.00 World.

Live at the Quiet Storm, November 2, 2002
The Stem Cell Liberation Front: Live at the Quiet Storm, November 2, 2002
$5.00 US; $7.00 World.

Blast
The Stem Cell Liberation Front: Blast
$4.00 US; $6.00 World.

Tell Ya One Thing
Maurice Rickard: Tell Ya One Thing
$3.00 US; $5.00 World.

How to get this music? Head on over to onezero music and get your hands on some downloads.

If you prefer CDRs, multiply the price listed above by the quantity of each CDR you want. You can email the funds to me using PayPal, by clicking on the link below. At the moment, I'm not taking credit cards. Put the following in your email:

Your name
Your mailing address
The quantity of each CDR. (Multiply by the prices above for your total.)

Click here to order.