RGBAUDIO

RGBAudio is a software-instrument that produces a range but predominantly low-end signal based on analysis of video. Daniel Neumann's Modular Collaboration Workshop's group suggestions and Wolfgang Gil's generous programming assisted the focus of the software-instrument. Max Programmer, Luis Fernando Henao (http://www.sim-av.com), assisted in evolving RGBAudio software into a graceful instrument, implementing a myriad of powerful interface controls and expressive performative capabilities. RGBAudio is capable of converting any type of live video or prepared video to audio and playing these in the same manner a virtual keyboard plays and 'sounds', only the source material is analyzed video.

For the live video signal, I use a synchronator which converts three sine tones to analog RGB which is further converted to composite digital. RGBAudio analyzes this and my prepared video clips, passes the combined audio signal on to analog effects, culminating in qualities of overdrive, distortion, agitation, foundation. RGBAudio informs the low end, the bass-ment level.

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RGBAUDIO gains visual media via analog-digital conversion hardware/software whereby each color channel is driven by a separate audio stream: red, green and blue. Extremes of frequency are used, varying from 0.013 to 43,000 Hz, to produce variations in palette, tempo, shape, direction, pattern. Once harvested, the synthesized color fields become the basis for improvisations set to multiple vibrant scores. Among this array of hardware/software, a core device is the 'Synchronator' developed by Gert-Jan Prins and Bas van Koolwijk during a video and audio research residency at Impakt 2006, currently distributed by the Netherlands Media Art Institute.  2010

RGBAUDIO compositions are based on experimentation and shaping of live video signal run through a ‘synchronator’ device which transcodes 3 channels of audio into red, green, and blue video channels. The digital video material results from analog audio - thus sound is rendered ‘visible’.

RGBAUDIO is the result of searching for ways to paint color through sound, and to sense light and sonic frequencies as tones that clash and play on an equal field. In this cosmos there is an ordered system and an integrated harmonious whole between sound and light. In some situations I use the synchronator solely to create sound by feeding the visual output into an audio decoder that outputs a far different sound than the original signal at the head of the circuit. In some cases, the video is the final form. Other times, there is synchronous monitoring of both visual and audio output from this spiral system.

	Modular Collaboration Workshop led by by Daniel Neumann, Performance, Diapason Gallery, July, 2010