MTF3B Wk8

David Harris's favourite film is David Lynch's 'Eraser head.' It was bound to confuse and frustrate people in forum as its a very cult film which you need to be in the right mind frame to see.

The visuals and sound design in the film are brilliant. Because the film is so highly symbolic it gave a lot of freedom for sound exploration beyond basic foley and immediate story telling, but audio links to psychological states.

I think the film explores various psychological states of mind with highly subtle (and not so subtle) references and symbols. Ultimately I think Lynch is alluding to the drudgery of lower working class life being a torture of the 'soul.' This film for me highlights the need for people to live beyond a mundane existence. "When people are subjected to the force and expectations of a culture whose influence is so strong that they can never entirely be sure of what's going on, and can never do anything but let things happen to them until they break.1" They never get a chance to actually understand themselves let alone the environment they are in. The lady in the radiator's song is mirroring the hope of peace and joy in the afterlife as a respite from mundane existence. It also gives an active example of someone who is following there desires and is free from expectations.



http://www.youtube.com/watch?v=RctPKy25LBU

1. Sidler Faolan "Foalans opinion" 18/9/08.

CC3B Wk8

This week I decided to use the PV_Freeze object. I mainly chose this because I remember the cool spectral freeze stuff Ben Probert did with Max/Msp last year. The use of this object was really strait forward as was the GUI implementation. I really like the sonic results I achieved. Some of the frozen harmonics of the string recording sounding really rich and full.

CC3B wk8.rtf

CC3B wk8.mp3

MTF3B wk7

Second and Third Year presentations

Sanad graced us with a pulsing dance track. It had a good drive and mix and it made me want to grab my fire poi and have a spin. Sanad was very critical towards the piece, but I have heard him create other works which are far better (no discredit to this piece) but I think Sanad is just aware of his capabilities and thus knew he could do better.

Edward had a max patch based on creating interesting visuals which control the sound. It was evident that the visuals were of greater importance than the sound, although I appreciate the link he has created between the two.

John has created some really cool industrial ambiance using Super Collider. I think it's a great demonstration of the sonic possibilities of synthesis Super Collider.

Matt had some interesting sounds but it I think John was a hard act to follow.

Freddie added some humour to the presentations with the visual feedback to the tempo.

And to finish up the use of probability to determine evolving chord progressions. It could be really cool if used with the right sound base. It could also be extended to create melodies and chord inversions etc but time constraints prevented him from doing so. It makes me lament to Ben's max patch last year which did exactly this, but stopped working at the last minute and thus he failed. It was a really cool improvisation generator.

Reference:

Whittington, Stephen. “Forum – Week 7 – Semester 2, 2008: 2nd and 3rd year presentations.” Workshop presented at EMU space, level 5, Schultz building, University of Adelaide, 4th of September, 2008.

CC3B Wk7

This week I created a software panning synth using the paraspace object. At the moment it only pans one input around 6 Speakers, but I'm hoping to extend this to have a variable input amount and hopefully vary the output also. I will also add a label to each node to make it easier I think.

CC3B Wk7.rtf
http://www.box.net/shared/87leg5ogqo#CC3B_Wk7

AA3B Wk7

Reading Randy Thom's article on sound design reaffirmed the importance of sound design in film. However I couldn't help but feel I was reading an article which would have been better suited for budding directors (or possibly seasoned directors too). It does highlight the need for those looking to do sound design too affirm there role in the movie making process from the onset and to try to not have sound be a last minute consideration. However as evident this is often the case and thus why this article needs to be given to directors.

Reference:

Harrald, Luke. “Audio Arts – Week 7 – Semester 2, 2008: Designing a Movie for Sound.” Lecture presented at EMU space, level 5, Schultz building, University of Adelaide, 9th of September, 2008.

AA3B Wk8

My Audio Arts movie hasn't actually developed as much as I would like in terms of filling the overall film with sound, but I have spent a great deal of time on the subtle foley effects. I have aimed to really blend the foley sounds together as to work effectively with the ambient atmospheric sounds. I think the water drips are an excellent extra touch. Particularly when they go in reverse for the shots of Nusfuratu, acting as a pseudo liet-motif sound fx.

AA3B movie thus far.mov

MTF3B Wk6

The question I was left wondering after today's Forum experiment was whether our understanding of the emotions evoked by sound was due to cliche stereotypes, or whether the songs and sounds which we all immediately associated with the typical emotions are simply the most effect representations of those emotions and they have only become cliche through over use.

Freddie's baby sounds and Sanad's Persian were the most interesting approaches to the exercises and also the areas I did worst in. This exercise also made me think of how Christian told me that U2 has been seen as using a certain frequency which is meant to induce euphoric states consistently in the vast majority of there songs.

Reference:

Whittington, Stephen. “Forum – Week 6 – Semester 2, 2008: Emo Presentations.” Workshop presented at EMU space, level 5, Schultz building, University of Adelaide, 4th of September, 2008.

CC3B Wk6

I didn't spend a great deal of time on this weeks project as I'm trying to catch up on all the work I need to do. But I do feel the ease in which I was able to implement the GUI demonstrates that I am becoming more confident with it and have overcome the initial hurdle I have been facing. Although that said, I think it is much easier to implement GUI on Synthesised sounds rather than when using audio buffers. I would also still like to know how to integrate GUI with Pbind triggering systems. I may have to look back over last semesters work to recall how I implemented functions in combination with MIDI to trigger sequences to achieve an integration of sequencing and GUI.

SC Code.rtf
mp3 recording

AA3B Wk6

AA3B Wk6 – Student Presentations

It was interesting to see how everyone else was approaching this project, particularly because most people have chosen the same clip to work on as me.

Jake is approaching his project like doing the sound for a video clip. I think that it will be hard for him to include foley without it taking away from the music, but Jake seems to be aware of this.

John's Foley work was quite good. I'd like to hear the music with some descent sounds and not just general MIDI as it sounds like it could have potential but it is always hard to tell with MIDI.

Dave's foley was really good. Particularly the bell sound for the clock.

Ben's ideas hold a lot of potential, the pieces he played on piano as an idea of what he wants to do work really well. I look forward to hearing the music he composes.

It was hard to have an opinion on Matts work as its still in development.

Reference:

Harrald, Luke. “Audio Arts – Week 6 – Semester 2, 2008: Foley and Music Presentations.” Workshop presented at EMU space, level 5 Schultz building, University of Adelaide, 2nd of September 2008.

CC3B Wk5

This week was an incredible struggle for me, but I got there after many hours of attempting things from multiple angles. Success came through two areas.

1. looking through the IXI tuorial which is downloadable form there website. http://www.ixi-software.net/content/software.html

2. Insuring I had the reference to the buffer placed before the argument I wanted the GUI to control.

Zip File with .rtf and sample

Reference:

Haines, Christian. “Creative Computing – Week 5 – Semester 2, 2008: FFT (1).” Lecture presented at tutorial room 408, level 4 Schultz building, University of Adelaide, 28th of August 2008.