Michal Seta (MiS): est compositeur et improvisateur; a étudié en "Music Technology" à McGill. Au cours de ses études il a été membre de g.e.m.s. (Group of the Electronic Music Studio) et il a été directeur de programmation de quelques concerts. Il joue de la guitare, expérimente avec l'intonation juste, guitare préparée et systèmes informatique pour manipulation de son et intéractivité. Il a également collaboré avec Andrée Préfontaine ("Air de compostage" - 2004, "Les occupants", projet en cours en collaboration avec La société d'arts technologiques (SAT) - 2005-2006), No One Receiving (CD disponible sur étiquette Grain Of Sound), Mike Hansen et Tomasz Krakowiak à Toronto et a été le premier artiste en résidence avec Artengine à Ottawa. Il a également donné des ateliers sur l'utilisation du logiciel libre en musique pour Artengine et StudioXX.

Currently affiliated with: UniSecs, Salon M&M, Andrée Préfontaine ("Aire du compostage", "Les occupants"), pdmtl, etc... see cv-mis for more information, if required.

Some recent music (July 2009)

Seven bagatelles.

The seven pieces were improvised one evening, one after another with brief moments of reflextion. Reflexion periods are not necessary for listening but may be used nevertheless. The pieces were played in the order they are presented here but during playback that order needs not be preserved.

Magnetic. - Magnetic fields and objects. (and echoes)
Cycle me. - Play, as soon as you hear computer's playback stop playing. Resume playing when the computer fades out.
Stepping over. - Prepared guitar, ostinatos (and echoes)
Double trouble. - Juxtapositions of slow and fast passages (and echoes)
Whispering axe. - Cork and aligator clip (and echoes)
Beater, so playful. - Almost a song - Minimal Riffs (and echoes)
- While my guitar gently sizzles. Electromagnetic interference of an iPod Touch with electromagnetic pickups, accidental hits, granular echo (and echoes)

For the technically curious, the bounding factor is a single Pd patch which was actually written for UniSecs piece called Assoifée. I figured, that it might be interesting to try different possibilities of this patch rather than reserving it solely for that piece and so I forked it, musically only, really, because I have not made any modifications to the actual code. The only significant difference between the use of the patch here and in Assoiffée is the fact that the bagatelles use only one sound source rather than two, as is the case with Assoifée. Other than that, I was driven by whatever simple musical rules I could come up with on the spur of the moment.

Some older improvised music:

these are some experiments I did after having read Curtis Roads' "Microsound" book (well, parts of it, anyways). The following pieces were simply improvised in real-time.

...while my guitar gently screams [9'16"]	fretles prepared guitar processed with pd
...pendant que ma guitare ronronne [16'17"]	fretless prepared guitar processed with pd
Slowly Moving In [8'08"]	fretless prepared guitar processed with pd
Vanishing into the Hum [6'47"]	fretless prepared guitar, just intonation, processed with pd and reinforced with freewheeling.

Some older compositions:

The pieces below were done in the years between 1997-2003. At the time, I've worked with a variety of tools (DAWs, Buzz, CSound) for "fixed" compositions, before improvisatoin took over...

Dream of a Kitchen Sink [3'41"]	Almost danceable...
KEGS [7'39"]	This piece was composed for the first anniversary of my daughter. It uses a fairly large sample from Aldo Romano's composition "Inner Smile" from his CD "Intervista". All other sounds were designed around it. My daughter's voice (when she was about 6 months old) is heard throughout.
Souvenir [4'56"]	Once I laid my hands on some sound effects and did this piece in a fairly classic musique concrète style.
Surface-I- [6'51"]	A little study exploring a synthesis technique involving methematical formulas for 3-dimensional surfaces.