CC3A wk6

This weeks CC was quite rushed due to work commitments and people getting sick. I have done the exercise, but not to the level I would like due to these constraints on my time. I hope in the following weeks to go over things in more detail to gain a better understanding.

http://www.box.net/shared/nkb3bvrqck

Reference:

Haines, Christian. “Creative Computing – Week 6 – Synthesiser Definitions.” Lecture presented at Tutorial Room 408, Level 4, Schultz Building, University of Adelaide, 10th of April 2008.

AA3A wk 6

I was happy we covered side chaining this week as I couldn't remember how to go about it. I took two approaches to this exercise. One I was creative with what I could achieve using gates and side chains the other I practiced the standard use of a gate with a side chain.

Example 1.

I used a duplicate of the kick drum bussed to the key input of a gate on a ambient synthesiser track. I pitch shifted the Left and Right channels to higher and lower frequencies. I really liked the effect this created. I also used compression on the drum to get a tighter sound.


Example 1

Example 2.

I synced the bass with the kick drum sample using the gate with they key input bused from a duplicate of the kick drum track. I also used compression on the drum to get a tighter sound.


Example 2

Example 3.

I tried experiment further with the use of gating and eq and compression. Sadly I just ended up repeating my original experimentation but to a poorer extent.


Example 3

Music Tech Forum wk6

Music Tech Forum wk6



As we entered forum this week we were greeted by the sounds of a mash up by the group “people like us” Vicki Bennet. Various songs overlaid and flowed into one another. Artists such as Marilyn Manson sung over the top of hall of the mountain king. Various humorous versions of 'Teen Spirit' seemed to be the order of the day. Including the Stephen Hawking vocals over a techno version.

It was when David presented us with his piece 'YouTube' biopsy which I became more enthralled. The visuals were spectacular. Ranging from the absurd Mario bros game, to the incredible view underneath the train and tornado sequences. The music gave the feel of an eclectic video clip which strove to express multiple feelings within each song mashed under common visual themes. Particularly the tornado part of the piece which extended for quite some time. I really enjoyed the underlay of 'the pixie's' “where is my mind” under the soulful gospel like piece. I think the piece should have ended around the time Mario made it to the end of the first level.

CC3A wk5

I am slowly slipping behind with my Super Collider. I'm understanding what is being presented to us, but I am not reaching the point were I am applying it to a standard I am happy with. I am just going to push myself in the break and hopefully catch up.



rtf file

example 1

example 2

example 3

example 4

example 5

( 

// Example 1 
 
 {
 // Carrier
 a = Saw.ar(MouseY.kr(40, 10000, 1), 0.25);
 
 // Modifier Parameter
 b = MouseX.kr(40, 10000);
 
 c = Resonz.ar(
  in: a,
  freq: b,
  rq: 0.5
    );
 }.play;
)

( 

// Example 2 
 
 {
 // Carrier
 a = Saw.ar(MouseY.kr(40, 10000, 1), 0.25);
 
 // Modifier Parameter
 b = MouseX.kr(40, 10000);
 
 c = Resonz.ar(
  in: a,
  freq: b,
  rq: 0.5
    );
 
 d = DelayN.ar(
  in: c,
  maxdelaytime: 0.2,
  delaytime: 0.2
    );
  }.play;
)

( 

// Example 3 
 
 {
 // Carrier
 a = Saw.ar(120, 0.25);
 
 // Modifier Parameter
 b = MouseX.kr(40, 10000);
 
 c = MouseY.kr(0, 0.9);
 
 d = XLine.kr(start: 8000, end: 400, dur: 5.0);
 
 e = Resonz.ar(
  in: a,
  freq: b,
  rq: 0.5
    );
 
 f = DelayC.ar(
  in: e,
  maxdelaytime: 0.9,
  delaytime: c
    );
    
 g = RLPF.ar(
  in: f,
  freq: d,
  rq: 0.05
    ); 
  }.play;
)

( 

// Example 4 
 
 {
 // Carrier
 a = Saw.ar(120, 0.25);
 
 // Modifier Parameter
 b = MouseX.kr(40, 10000);
 
 c = MouseY.kr(0, 0.9);
 
 d = XLine.kr(start: 8000, end: 400, dur: 5.0);
 
 e = Resonz.ar(
  in: a,
  freq: b,
  rq: 0.5
    );
 
 f = DelayC.ar(
  in: e,
  maxdelaytime: 0.9,
  delaytime: c
    );
    
 g = RLPF.ar(
  in: f,
  freq: d,
  rq: 0.05
    );
    
 h  =  FSinOsc.kr(freq: 2);
 
 i =     Pan2.ar(
  in: g, 
  pos: h, 
  level: 0.25); 
  }.play;
)
Example 5
(
 //Variables
 var car, env, mod1, mod2, pan, num = 15, dur = 5;
 
 //Multiple UGs
 {
  Mix.fill(
   num, {
   
   //carrier
   
   car = Saw.ar(freq: 100, mul: 0.50/num);
   
   //Envelope
   env = MouseY.kr(8000, 40, 1);
   
   //Modifier (Fiter
   mod1 = RHPF.ar(
    in: car,
    freq: env,
    rq: 0.05
      );
      
   // Modifier (Delay)
   mod2 = CombN.ar(
    in: mod1,
    maxdelaytime: 0.4,
    delaytime: 0.4,
    decaytime: 1
       );
    
 };
 )}.scope.play;
)

My New Toys :)

I'm happy :)

Music Tech Forum 3A wk5

Pierre Henry



The documentary on Pierre Henry exhibited some interesting ideas. His fascination with sound in and of itself was obvious. Some aspects of his pieces I found highly engaging whilst other parts were obviously a personal exploration. His use of multitudes of speakers and his fanaticism over there placement made me wish I could have been at those concerts to gain an insight on how best to pan sounds when approaching my next 6 channel sound installation.

Overall I appreciate his exploration into sound, but wouldn't want to explore the same territory as him. He has a really good ear for sound but his arrangement of them and his finl product isn't very engaging. Its the sounds themselves which are his expertise.

By the time the dvd ended, I was ready for a break. Having to try and concentrate on more music was a challenge. To me it is a stye, which I can appreciate but is hard to listen to over long periods of time. I was over immersed in sound. Ironically, I did really enjoy the piece 'sleeping'. Perhaps because of its minimalism.

Reference:

Whittington, Stephen. “Forum – Week 5 – “Pierre Henry.” Workshop presented at EMU space, Level 5, Schultz building, University of Adelaide, 3rd of April 2008.

AA3A wk 5

Auto Tune

Sadly I forgot to copy the screen shot of what we were doing with Auto Tune... So heres a pic from the net.


This is a pretty cool plugin. I can see how it can be applied not only in a standard fashion to put things in tune, but also its creative applications to add interesting elements to a sound.

Each example has the clean version, followed by the Auto Tune version directly after.

The First example is an example of Auto Tune being used creatively. Auto Tune has forced Ben's vocals into a minor scale. Then we used Amplitube and Rcompression for extra coloring.

electric guitar vocals

The second is Forcing bens vocals into a major scale. Its used so heavily that the 'Cher' effect is quite evident.

The 'Cher' effect

The final example demonstrates a conservative use of Auto tune on a plucked cello. Listen carefully to the second note in each recording to hear the difference Auto Tune has made.

Auto Tune Cello

Reference:

Grice, David. “Outside the square” Pt 2. Lecture presented at Studio One, Level 5, Schultz Building, University of Adelaide, 1st of April 2008.