Wk 13

My Malets exam :I never wanted to give such a performance to jim..I could not answer some really basic questions.At first he asked me to play "Take the A train" - i couldnt play the melody,i played the chord changes, were they right, may be..he asked me to play "straight no chaser" - i stoped 3 times stil couldnt play the run which connects the head.Well, i played the chord changes..Then he asked me few questions about modes, which i answered then all right..he asked me few other analysis questions some of them were right and the others were just guesses..i wasnt sure about the mode which fits with f#-7b9..Whats the difference between 8 note dominant and atlered sclale, i was just guessing, he knew it, he didnt asked me anything else, he said "you are done, you may go....."

Miles Davis

“I'm always thinking about creating. My future starts when I wake up every morning . . . Every day I find something creative to do with my life.
”
Miles Davis { b May 25, 1926 }









It's always been a gift with me, hearing music the way I do. I don't know where it comes from, it's just there and I don't question it.”- Miles Davis




( Bandleader, Composer,performer - Trumpet, Flugelhorn, Organ)

These quotes are so inspiring and so are is the image drawn by miles which is called "jazz"..

Quotes from his website -- " Miles Davis was the "Picasso of Jazz," reinventing himself and his sound endlessly in his musical quest. He was an artist that defied (and despised) categorization, yet he was the forerunner and innovator of many distinct and important musical movements."
In his autobiography, Davis stated that this criticism was made because no critic could categorize this music and complained that On the Corner was promoted by the "traditional" jazz radio stations, therefore not to young African-americans. Miles himself thought that the record would be "something for black people to remember me by".


On the corner was released in 1972 – I hope I was born in 70’s, the time I have never seen ..!!
Davis refused to be confined by the expectations of his traditional audience or music critics, and continued to explore the possibilities of his new band. As he stated in his autobiography, he wanted to make music for the young afro-american audience. On the corner showed a seemingly effortless grasp of funk without sacrificing the rhythmic, melodic and harmonic nuance that had been present throughout his career. The album also showed the influences of Paul Buckmaster's studio arrangements and Stockhausen in its layered recording and post-production editing. The album was highlighted by the appearance of saxophonist Carlos Garnett. The record provoked fierce arguments from many critics, with one British critic noting: "I love Miles, but this is where I get off."
In the early 1970s, Miles kept experimenting with the electric instruments and fusing more funk into his music. In 1976, a combination of bad health, cocaine use, and lack of inspiration caused Miles to go into a 5-year retirement. He conquered his cocaine habit, received new inspiration and returned in 1981 and made a series of records . He did keep pushing music, as he was not one to rest on his feet and play his old music. He started experimenting more with synthesizers and using studio techniques in his recordings. He won a series of Grammy Awards during this decade and continued turning out sidemen, such as Garrett, Stern, and Berg,. Miles Davis died in 1991.

Week 12

Game Project:My game project has been quite a learning experience for me and esp working with Marcus Kennedy,a dedicated/creative 3D graphic artist.Although I am still relying on still images,my perception of the game seems to get a little better than before.I would like to have a short animation of the game which familiarises me as how the enviornment will look like.The good news is that my group will have a single level playable demo of the game by the end of this year.
Player character "Vess":
Enemy "Oranju":

{Images copyright @ Emergence Games}

-------------------------------------------------------------------------------------
Tuesday was the day for my Foundation for honours presentation on the hot topic "Narrative and Music" -- The art of story telling through music.Everything came out really naturally,I certainly had a lot to say about it and that's why I went 5 mins overtime(that is bad,i forgot to start my stopwatch and obviously then lost the time) .The sound system in Hartley 108a should be now in Adelaide Heritage Musuem ,it is horrible.If given the authority I am quite happy to transport it there.

Creative Computing :Processing (3)
*Comb filtering
*Configuring MSP via the DSP object

Comb filter: Simply a filtering delay line."The comb~ object implements a comb filter, in which a slightly delayed version of a signal is added to itself, causing phase cancellations and a spectrum that looks like a comb". The filter implements the following formula:y[n] = a * x[n] + b * x[n - delay] + c * y[n - delay]

Karplus strong - string/plucked metal sounds

Basics of Granular Synthesis:"The grain is a unit of sonic energy possessing any waveform, and with a typical duration of a few milliseconds, near the threshold of human hearing. It is the continuous control of these small sonic events (which are discerned as one large sonic mass) that gives granular synthesis it's power and flexibility"(1).(Kuehnl, Eric).A basic grain generating device would consist of an envelope generator with a gaussian curve driving a sine oscillator.

Check out Nathan Wolek's site on granulation: www.nathanwolek.com

-------------------------------------------------------------------------------------
Well nothing seems to change much,besides no on really tries anything.I need to change alot of things in me and around me which would probably help me for the rest of my life.Things have changed or rather I have changed.I know why is that but was anything in my hands.I was helpless but to give my time for work(work other than music) and besides my constant effort of it not affecting me,it has screwed me.I am scared to do that again.The time has gone anyway but I look forward to cover up everything which I have lost in this time.

References
(1)Kuehnl, Erich.2006.Paper On granulation.http://music.calarts.edu/~eric/gs.html
(2)Haines,christian.2006.Practicals on Creative Computing:Max/Msp.University Of Adelaide.
(3)Msp~ Tutorials and Topics.2006.Cycling 74
(4)Emergence Games.2006.Reference still Images of characters.

Week 11

Creative Computing:Msp
Processing (2) : Other delay line derivative effects such as chorus, flange, etc.
Building Graphical Interfaces :Check out www.guistuff.com

Delay line Objects:
tapein~ :Input to signal delay line.It receives a signal in and copies into a delay line.
tapout~ :Output from signal delay line.It outputs a delayed signal that was fed to tapin~. It has one or more inputs to specify delay time and a signal output and you connect a tapin~ object to one or more tapout~ objects.

Note:"Different materials absorb sound to varying degrees, and
most materials absorb sound in a way that is frequency-dependent. In
general, high frequencies get absorbed more than low frequencies".

Controlling Amplitute: The normalize~ object allows you to specify a peak (maximum) amplitude that you want to sent out its outlet. It looks at the peak amplitude of its input, and calculates the factor by which it must scale the signal in order to keep the peak amplitude at the specified maximum. So, with normalize~ the peak amplitude of the output will never exceed the specified maximum.

Patch for Delay line Feedback: Set dry/wet levels,R & L Delay level,R & L direct Level,R & L Delay time and R & L Feedback time.

#P window setfont "Fixedwidth Serif" 10.;
#P window linecount 1;
#P message 19 240 14 1441802 0;
#P newex 19 219 53 1441802 loadbang;
#P newex 337 414 54 1441802 *~ 0.2;
#P newex 192 442 40 1441802 *~ 0.2;
#P window setfont "Sans Serif" 9.;
#P message 355 457 29 196617 stop;
#P message 286 457 67 196617 startwindow;
#P newex 192 484 48 196617 dac~;
#P window setfont "Fixedwidth Serif" 10.;
#P newex 148 387 31 1441802 *~ 1;
#P newex 337 385 32 1441802 *~ 1;
#P window setfont Times 10.;
#P comment 367 347 82 1310730 Right Direct Level;
#P window setfont "Fixedwidth Serif" 10.;
#P flonum 359 363 69 10 0. 1. 3 22 0 0 0 221 221 221 222 222 222 0 0 0;
#P flonum 169 362 62 10 0. 1. 3 22 0 0 0 221 221 221 222 222 222 0 0 0;
#P window setfont Times 10.;
#P comment 153 341 77 1310730 Left Direct Level;
#P user hslider 56 265 18 76 101 1 0 0;
#P window setfont "Fixedwidth Serif" 10.;
#P newex 56 288 43 1441802 * 0.01;
#P window setfont Times 10.;
#P comment 57 249 23 1310730 Dry;
#P comment 125 247 22 1310730 Wet;
#P window setfont "Fixedwidth Serif" 10.;
#P newex 56 313 68 1441802 expr 1-$f1;
#P window setfont "Sans Serif" 9.;
#P comment 235 341 78 196617 Left Delay Level;
#P window setfont "Fixedwidth Serif" 10.;
#P flonum 245 362 62 10 0. 1. 3 22 0 0 0 221 221 221 222 222 222 0 0 0;
#P window setfont "Sans Serif" 9.;
#P comment 463 347 85 196617 Right Delay Level;
#P window linecount 2;
#P comment 210 235 47 196617 Left Feedback;
#P window setfont "Fixedwidth Serif" 10.;
#P flonum 464 363 62 10 0. 1. 3 22 0 0 0 221 221 221 222 222 222 0 0 0;
#P window setfont "Sans Serif" 9.;
#P window linecount 1;
#P newex 447 387 27 196617 *~;
#P newex 307 386 27 196617 *~;
#P message 338 39 29 196617 stop;
#P message 269 39 67 196617 startwindow;
#P newex 269 82 31 196617 adc~;
#P comment 191 146 81 196617 Left Delay time;
#P flonum 428 158 62 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P flonum 378 233 62 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P newex 361 261 27 196617 *~;
#P newex 361 200 56 196617 tapout~ 1.;
#P flonum 202 214 62 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P newex 269 240 27 196617 *~;
#P newex 269 199 56 196617 tapout~ 1.;
#P flonum 200 160 66 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P newex 361 158 65 196617 tapin~ 1000;
#P newex 269 159 65 196617 tapin~ 1000;
#P comment 411 143 81 196617 Right Delay time;
#P window linecount 2;
#P comment 392 250 45 196617 Right Feedback;
#P connect 39 0 40 0;
#P fasten 40 0 27 0 24 262 61 262;
#P connect 27 0 26 0;
#P connect 26 0 23 0;
#P fasten 13 0 33 0 274 106 153 106;
#P fasten 23 0 29 0 61 356 174 356;
#P fasten 29 0 33 1 174 382 174 382;
#P fasten 33 0 37 0 153 423 197 423;
#P fasten 37 0 34 0 197 472 197 472;
#P fasten 36 0 34 0 360 478 197 478;
#P fasten 35 0 34 0 291 478 197 478;
#P fasten 16 0 37 1 312 422 227 422;
#P fasten 38 0 34 1 342 451 235 451;
#P fasten 26 0 21 0 61 309 250 309;
#P fasten 15 0 13 0 343 68 274 68;
#P connect 14 0 13 0;
#P fasten 13 0 2 0 274 117 274 117;
#P fasten 6 0 2 0 274 263 186 263 186 120 274 120;
#P fasten 4 0 5 0 205 187 274 187;
#P fasten 2 0 5 0 274 187 274 187;
#P connect 5 0 6 0;
#P fasten 7 0 6 1 207 232 291 232;
#P fasten 5 0 16 0 274 223 312 223;
#P fasten 21 0 16 1 250 381 329 381;
#P fasten 13 1 32 0 341 99;
#P connect 32 0 38 0;
#P fasten 23 0 30 0 61 339 364 339;
#P fasten 30 0 32 1 364 381 364 381;
#P fasten 13 1 3 0 295 126 366 126;
#P fasten 9 0 3 0 366 293 354 293 354 148 366 148;
#P fasten 11 0 8 0 433 196 366 196;
#P connect 3 0 8 0;
#P connect 8 0 9 0;
#P fasten 10 0 9 1 383 254 383 254;
#P fasten 17 0 38 1 452 409 386 409;
#P fasten 8 0 17 0 366 226 452 226;
#P fasten 26 0 18 0 61 309 469 309;
#P connect 18 0 17 1;
#P window clipboard copycount 41;
-------------------------------------------------------

Forum : One inspiration in my group is tyrell's idea of improvising with a film.Dont know if that has worked but certainly it is different form my past approach.I have certianly used the narrative theory in shivna kaun performances and now playing for films narrative is yet another spontaenity of thought.What ever I say its been an experience and the desire of playing together with the people in this group strongly exists in me.Somehow the energies are quite dull and I dont see any bond besides the fact that I really like their individual tastes and music making.

Second half of the forum was quite interesting, Luke Harrald talked about his trip last year to IRCAM and his intensive summer CCmix course at Xenakis’s EMF institute.
The 2006 International Conference on New Interfaces for Musical Expression is the 6th conference on new musical interface design and technology hosted by IRCAM - Centre Pompidou,in Paris.The 7th International Conference is organized by Harvestworks and New York University's (NYU) Music Technology Program in partnership with the NYU Interactive Telecommunications Program (ITP).The conference will take place June 7-9, 2007 in New York City.

References
(1)Haines,Christian.2006.Practicals in Creative computing: Max/Msp.University Of Adealaide.
(2)Msp Tutorials and Topics.2006.cycling 74
(3)Harrald,Luke.Guest Speaker in the forum.University Of Adelaide.2006
(4)http://itp.nyu.edu/nime/2007/

Week 10

Creative Computing: Msp
Processing:Key areas covered
*Plugin Creation
*Frequency domain processing
*Delay line and control

Plugin~:Define a plug-in's audio inputs
Plugout~:Define a plug-in's audio outputs
Note: Alway write the extension after the name of the plugin i.e .vst otherwise it will show the file as a run time document.
PP: pligin parametres{index(always at 1),name,min adn max value,unit}
eg.: pp 2 gain .1 1.0

Resonance patch :3 parametric controls {Gain,frequency,Q}
#P outlet 29 264 15 0;
#P inlet 27 81 15 0;
#P window setfont "Sans Serif" 9.;
#P number 294 138 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P window linecount 1;
#N pp 3 Q 1. 100;
#P newobj 294 113 71 196617 pp 3 Q 1. 100;
#P newex 47 264 60 196617 plugout~ 1;
#P number 105 145 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P number 190 142 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#N pp 2 freq 1. 1000;
#P newobj 190 114 90 196617 pp 2 freq 1. 1000;
#N pp 1 gain 0. 1.;
#P newobj 105 115 74 196617 pp 1 gain 0. 1.;
#P newex 47 195 53 196617 reson~;
#P newex 47 80 60 196617 plugin~ 1 2;
#P fasten 1 0 10 0 52 250 34 250;
#P connect 0 0 1 0;
#P fasten 9 0 1 0 32 102 52 102;
#P connect 1 0 6 0;
#P fasten 2 0 1 1 110 140 102 140 102 140 66 140;
#P fasten 4 0 1 2 195 165 183 165 183 178 80 178;
#P fasten 8 0 1 3 299 160 290 160 290 187 94 187;
#P fasten 5 0 2 0 110 164 100 164 100 101 110 101;
#P connect 2 0 5 0;
#P fasten 4 0 3 0 195 168 180 168 180 97 195 97;
#P connect 3 0 4 0;
#P fasten 8 0 7 0 299 162 288 162 288 105 299 105;
#P connect 7 0 8 0;
#P window clipboard copycount 11;

Here is the plugin tester patch :

#P window setfont "Sans Serif" 9.;
#P window linecount 1;
#P message 620 125 14 196617 1;
#P message 602 126 14 196617 0;
#P message 532 167 26 196617 plug;
#P message 680 230 29 196617 stop;
#P message 610 231 67 196617 startwindow;
#P newex 569 254 31 196617 dac~;
#N vst~ loaduniqueid 0 none;
#P newobj 569 199 79 196617 vst~ none;
#N sfplay~ 1 120960 0 ;
#P newobj 568 163 44 196617 sfplay~;
#P message 568 126 30 196617 open;
#P fasten 2 1 3 1 587 235 595 235;
#P fasten 7 0 1 0 607 152 573 152;
#P fasten 8 0 1 0 625 152 573 152;
#P fasten 6 0 2 0 537 190 574 190;
#P fasten 5 0 3 0 685 250 574 250;
#P fasten 4 0 3 0 615 250 574 250;
#P connect 2 0 3 0;
#P connect 1 0 2 0;
#P connect 0 0 1 0;
#P window clipboard copycount 9;

fft~:Perform an FFT (fast Fourier transform) on a signal
"The French mathematician Joseph Fourier demonstrated that any periodic wave can be
expressed as the sum of harmonically related sinusoids, each with its own amplitude and phase.If the number of digital samples in each time slice is a power of 2, one can use a fasterversion of the DFT known as the fast Fourier transform (FFT)".
ifft~:Perform an Inverse FFT (inverse fast Fourier transform) on a signal.
pfft~: spectral domain signal processing chain.It sets up its own signal chain for the processing of frequency-domain signals.
------------------------------------------------------------------------------------
An honest Forum Feedback:I regret to write this as I never like to complain but this was the first time in my entire life i felt i was forcing myself to play.. I am not sure whom to blame for this, may be its just something within me which is changing but believe me it was horrible..I am missing those times when everything came up so naturalIy and it just gave me this energy to have fun with it..
Bad vibes please stay away from me, I dont need you,,go and die somewhere..
This improv group is a pain in my ass now,,believe it or not its not fun anymore,,I will play only for the sake of stephen otherwise I am not interested in this crap..I am sorry if i am annoying you, I am only telling you the truth and i felt that this had to come out from me and its there now... I was really excited about my group in the begining as this is something I am highly interested in but the whole excitment is over now..I dont feel anything for this anymore..I still look forward for the performance,I know it will be fun.I guess I will be able to attract positive vibes from the audience..
(I am posting this after nearly 1.5 months of a draft.There is no point hiding the truth.I will be quite happy to hear back from anyone who wants to know more insight into the story..)

References:
(1)Haines.Christian.2006.Practicals in creative Computing Max/Msp.University Of Adelaide.
(2)Msp Tutorials and Topics.2006.cycling 74

week 9

Quote of the day : "Music a cultivation of sound through emotion and expression"(1)

Tip of the day:Communication and relationship with the director -- Get in to the head space of the director.Know exactly from the director the emotional side of scene, characters through his creative and imaginative words.Everything possibly which would help you in writing music for his film.
I have been working for one of Tamas Major's film.He has kept everything quite open to me,regarding what I should do with the film but somehow the temp track is pushing me towards this more generic techno pub oriented music.I have given him one version of the sound track but I am realy not happy with my work,I have to write something for it more expressive,which is currently not happening..
----------------------------------------------------------
Creative Computing: Msp~
More insight into Poly~ object
Additive synthesis : A simple summmative addition of waveforms to make complex tones)
pack:Make numbers or symbols into a list.
Patch for vb.poly : 3 parametric modulations frequency,phase,amplitute.
#P window setfont "Sans Serif" 9.;
#P window linecount 1;
#P comment 98 65 27 196617 amp;
#P comment 64 66 32 196617 phase;
#N out 1;
#P newobj 38 http://www.blogger.com/img/gl.link.gif171 33 196617 out 1;
#P newex 38 138 68 196617 *~ 0.5;
#N in 3;
#P newobj 96 79 25 196617 in 3;
#N in 2;
#P newobj 67 79 25 196617 in 2;
#N in 1;
#P newobj 38 79 25 196617 in 1;
#P newex 38 109 39 196617 cycle~;
#P comment 38 65 25 196617 freq;
#P connect 2 0 1 0;
#P connect 1 0 5 0;
#P connect 5 0 6 0;
#P connect 3 0 1 1;
#P connect 4 0 5 1;
#P window clipboard copycount 9;
--------------------------------------------------
Presentation at the Forum: DJ TR!P is an Adelaide based electronic music composer. TR!P works as a disc jockey, a remix artist, workshop tutor and works for numerous major theatre & dance companies around Australia. He studied Music Technology at Flinders School of Music. and as a live performer he has played at major festivals & events nationally & internationally.
Tr!p talks to carclew : "As an artist I explore and distill sonic textures. These sounds reveal an environment clouded by layers of frequencies and definition.I investigate deeper soundscapes, visiting the sublime and then return, audio reaching swallowed ambience to a create a very disturbed electronica. My work narrates fairytales of darkness, and the dirt in which organised noise-fruits thrive!"

References:
(1)Bailey.Jim 2006.Practicals in Jazz Mallets.University of Adelaide.
(2)Haines.Christian.2006.Lecture for Audio Arts: Max/Msp.University of Adelaide
(3)http://www.carclew.com.au/artists/artist17.aspx
(4)http://www.djtrip.finder.net.au/

Week 8

Guest performer at the Forum :
Dr. Chandrakant Sardeshmukh
What a great honour to play with such a legendary sitar player from India.
A brief insight of his life: He started his musical journey at the age of 4 and was soon recogonised as "a sheer prodigy" by Pandit Ravi Shankar,who then accepted him as his student. He had a rare privilege of studying traditional Indian Classical Music of Maihar Senia Gharana under the guidence of Shrimati Annapurnadevi Ravi Shankar, who is a gifted legendary Indian artist, being the daughter of Baba Allaudin khan and wife of Pandit Ravi Shankar.
It a previlage to even attempt to write these names.Needless to say anything about them and Dr.Sardeshmukh upbringing,a legend arrived at EMU and blessed us all.
------------------------------------------------------------------------
Audio Arts: Legal issues and Copyright ownership
Australian Copyright council
*communicate
*reproduction
*composer/performer
*publisher/record company
*Scheme of contractual variations: Creative Commerce
-----------------------------------------------------
Creative Computing:Msp
More ojects we looked at besides poly and poly~
thispoly~:Reports poly~ instance number, controls voice allocation and muting.Free's the voice when value equals zero.At the end of the patch,the patch chord goes in thispoly~.
zl:all-in-one things list
iter:Unpacks lists one element at a time through its outlet
counter:Counts bangs at its left input.

References:
(1)Sardeshmukh,Dr.Chandrakant .2006.Guest Presentor at the Forum.University Of Adelaide.14 September'06
(2)Haines,Christian.2006.Audio Arts lecture on Sound Design for Games.University Of Adelaide.12 september'06.
(3)Haines,Christian.2006.Creative Computing lecture on Max/Msp.University Of Adelaide.14 september'06.
(4)Msp Tutorials and Topics.2006.Cycling 74
(5)http://www.darshanam.com/profile1.asp
official website of Dr.Chandrakant Sardeshmukh

Week 7

Game Project : Emergence Games


My group has finally given me some visual clues of the game.The plot is as follows and the logo is nearly done.
This single player role-playing game is about upgrading a series of Driods or Bio Enhanced Mercs.You choose which missions you want to complete which gives you a path to follow and create a story line around the path.This provides exceptional re-playability.By choosing and completing missions from one faction,more missons path will become available to the player for that faction.Completing some missions for one faction may lead to opposing factions mission paths to become unavailable.
------------------------------------------------------------
Creative Computing
Main topics discussed:
Application Structure, GUI examination
• MIDI mapping in MSP
• MIDI control data and ranging sampler voice control

Introduction to poly and poly~
Poly: Poly does polyphonic voice allocation.
Poly~:Polyphony and DSP manager for patchers.It loads a specially-designed subpatch from disk (containing in~, in, out~ and out instead of the traditional inlet and outlet objects) once for each "voice" indicated by the value of the second argument.

(Java Script User Interface)jsui:The jsui object is a general purpose user interface object driven by javascript.

menubar : Puts up a menu bar of custom menus
Key:Report events from the computer keyboard.To look for specific keys, use key followed by select…here is the patch to allocate space bar for a specific function.
#P window setfont "Sans Serif" 9.;
#P window linecount 1;
#P newex 128 163 40 196617 key;
#B color 5;
#P newex 128 185 51 196617 select 32;
#P message 128 207 103 196617 You hit the space bar;
#P newex 128 227 36 196617 print;
#P connect 1 0 0 0;
#P connect 2 0 1 0;
#P connect 3 0 2 0;
#P window clipboard copycount 4;

Hint: pop-up floating hint/tooltip for user interface assistance..
----------------------------------------------------------------------

Forum Presentation : Derek Pasco
I have known derek for a fair while now and its amazing that he was the guest this week in the forum.First time I met him was at wheatsheaf hotel,he was playing his set for COMA.He used a quote by John Cage for one of his piece,"if something is boring after two minutes, try it for four. If still boring, then eight. Then sixteen. Then thirty-two. Eventually one discovers that it is not boring at all".But he didnt ackowledge the creator of this quote.I went up to him and said that I really liked your performance but why didnt you acknowledge john cage and he replied that he did has acknowledged him in the past,when ever he has used his quotes..Ah well my memories of not using quotations are still quite fresh and I have paid alot for that.I have certainly understood the need and obligation to admire anything you ever use which is not your own creative product.
Derek spoke alot about improvisation techniques in a group scenerio which I personally believe were quite self explainatery.All of them existed for their own purpose and if you want to go to a theoritical understanding of improvisation they are brilliant.If I ever feel I am lacking the ideas for my own improvisation group I will certainly look back at the handout.
There were some great bits in the group collective effort esp with what Marco was doing.I really liked his idea of using contact microphone,keys and measuring tapes.The sounds he was producing were quite fascinating and in a way quite organic.
"Music...has to do alot of areas which are magical rather than logical.
The great artists,rather than just getting involved with discpline,get to understand love and allow the love to take shape".

First three lines of the handout from Chapter 16 of Elements of Improvisation,which stephen gave us says it all.I hope my group understood this,rather I should say,everyone in my group understood this.Or even if they do,it only applies to their personel music making.My enthusisam seems to disapear day by day.I am forcing myself to be present there and feel a bond.Some people in this world would never allow their love to flow,rather all they can contribute to the society is the evilness of their frustrated soul.
Stephen,the idea of forming improvisation groups is brilliant.Please carry forward this tradition.Regardless of what I have stated in the lines above,the whole experience is still quite magical.

Refrences:
(1)Haines,Christian.2006.Audio Arts lecture on Sound Design for Games.University Of Adelaide.5 september'06.
(2)Haines,Christian.2006.Creative Computing lecture on Max/Msp.University Of Adelaide.7 september'06.
(3)Whittington,Stephen.2006.Handout on Techniques for Improvisation.University Of Adelaide.7 September'06
(4)Msp Tutorials and Topics.2006.Cycling 74
(5)Derek,Pasco.2006.Presentation a the Forum.University Of Adelaide.7 September'06

Week 6

Game Design for "Synthetic Echo"

Assets list :

Menu
Music
Button click Sfx

In game
Music
Ambient sounds:
-Traffic
-Wind
-People shouting (cannot understand what they’re saying)
Automatic Rifle firing sfx
Grenade Launcher sfx (firing+pump action reload)
Explosion for grenade
Gunshot riccochett off cement/metal/dirt
Bullet hitting and lodging into flesh/armour
Heavy (male) sfx:
- Footsteps on cement
- Footsteps on grass
- Footsteps dirt/rubble
- Heavy leather and metal plating clanging while moving
Light (female) sfx
- Footsteps on cement
- Footsteps on grass
- Footsteps dirt/rubble
- Light fabric clothing while moving

Character Voices
Dez (male - heavy weapon specialist)
Heavy whisper, low tone, through breathing mask
- “Let’s get moving”
- “Here’s some chumps, let’s take em”
- “Taken him out”
- Being hit by bullet “urgh” several different versions
- Being killed “arghh”
Vess (female – stealth)
Strong, confident, sly, through communication device
- “Come on, we need to get moving”
- “Target sighted”
- “Another one down”
- Being hit by bullet “urgh” several different versions
- Being killed “arghh”

Ending Credits
Music

Week 5

Film Design : Excerpt from Aliens
Recommended films to watch : Matrix, Aliens, Punch drunk love
Key things covered :
Dynamics, interesting,works realy well, just the right sound at the right moment which tells you everything what is required.

Too much information -- Sound interesting but requires too much attention, other than the video..

SUBJECTIVE *** SENSE OF REALISM

Tips for Foley recording -- Imagine a real life, how loud do you hear a sound,,far away sounds,,close sounds,,whispering anything,, Imagine a real life scenerio and present it..you dont hear foleys direct through ear.
Footsteps-- you are never too close to footsteps , so they dont have to be loud..

Glass smashing : Imagine a glass falling down,,compared to the full impact of a loud blast of a glass..A lot of times sound act as a enhancer,,in that way you present a loud smash of the glass.. Enhancment of the experience..

Violin -- Needs natural reverb,open space,harmonics to be heard..
close miking takes away teh thrill from teh sound..

Sonic Design aspect ******Contrast between scenes

Source Music and Score Music***** OR***** Diegetic and non diegetic music

Creating WIND :
Finding just the right wind for the scene can be tricky..Apply your creative tools of synthesis to get just the right sound you are after.. create a " cheerful wind "
*Low bottom end layer
*Mid range layer
*Filtered layer
*Whisteling layer


Music and Meaning in Commercials :

Synesthesia : A condition in which one type of stimulation evokes the sensation of another, as when the hearing of a sound produces the visualization of a color.
A sensation felt in one part of the body as a result of stimulus applied to another, as in referred pain.
The description of one kind of sense impression by using words that normally describe another.

Analysing "Material Girl"-- Madoona

Recommendd reading : "Analysing Musical Multimedia" -- Nicholas Cook

Week 4

Film Design :

Key concepts covered in class

16mm -- Old skool Sound Production in film ( 1 mono optical track ,crapy than tape),low dynamic range,tape hiss
35mm - Stereo optical track
Dolby mix - dynamic range,surround
Cinema -- 120 dB dynamic range

Various type of music releases ;
cinema release, 5.1,stereo,television mix(very reduced),
Music and Fx release for foreign languages
Dialogue,music and Fx mix for promotional usage
mobile phone mix - mono mix, low quality playback device
Always Know the end product or medium of sound reproduction.There is no point spending time on panning if the end result is played as mono.Like wise spend as much possible time in the post production when you know you have the best sounding 11.1 setup for playback.

KEY THINGS BEFORE YOU START YOUR WORK
Dynamic Range
Frequency Response
No Of Channels
Listening Enviornment

Main Areas of Film Design

Dialogue****Music****Fx****Atmos****Foley

Always keep everything in seperate tracks with sub groups of individual items.It isjust like organising anything.Disciplined Organization would simply make your work easier and faster.

Week 3

Sound design for Films:
Key elements for a good sound design
*Enviornment
*POV - angle or camera movement
*Low Lighting
*minimal dialogue
One of the ket things you will come across would be "why is this music not working with this scene"?.Keep watching the scene again and again,unless you come up with something quite interesting.'Time' will solve everything,anything you ever want to acheive.In some cases you will find that the music works really well and you dont really want to change it.
Temp track : A personel idea of director what he likes.Always remember you are working for someone,his baby and by all means you have to listen and please him with your work.A balance between satisfying all his needs and displaying your creative adventures,is what your aim is.In most cases if the director and the composer is happy,the film would be a success.

Sound Track components
*Dialogue
*Fx
*Foley (dramatic or narrative aspects)
*Atmos (blanket sound,background)
*Music

ADR - Automatic Dialogue Recording

Other important areas : copyright rules for musicians/artists
Mechanical rights of DVD,sound libraries etc
check out Australian Copyright Council's Online Information Centre http://www.copyright.org.au/
-------------------------------------------------------------------------------------
Game Project : My group is using Torque engine for their game.Check out a brief "Torque engine analysis"

Game engine
*Components
*Modular - Assembly
specific task
specialised task
sound
rendering scenery(L-systems)
*Abstraction
*Level Editors

Sofware to Hardware
Open GL - Graphic Language
Open Al - Audio language

Complexity : LE - MW - SRC code
-------------------------------------
Creative Computing : Msp
Synthesis and Enveloping
*Path towards virtual Instruments(Rewire)
*Additive,Amplitute modulation(ring modulation)
*object(encapsulation) - instances
*Synthesis e.g. protools mixer

Additive Synthesis : Adding simple tones to make complex tones e.g. Kawai 5000
E.g. : cycle~60 +cycle~200 + cycle~ 440 = complex tone by additive synnthesis.

Fourier Theorem :All sounds can be representated as sine tones.
*Delta time : space between start and end time(gives you 2 figures) whereas duration gives you only one figure.
# : arguments within an object (any parameter you want)
#1 - first argument,#2 - second argument and so on..
Function : GUI object - envelope generator

Tremelo and Ring Modulation " If the modulating frequency is above 16Hz it is ring modulation and if it is below 16Hz t is tremelo.
Modlating frequency always come down to zero at some point.
Carrier frequency : sound source
modulater : control/changing source
E.G : Say CF = 1000 and MF = 250
Then the range will be between 750Hz-1250 Hz and Ring Modulation is 500.

Amplitute Modulation: Amplitude modulation involves changing the amplitude of a “carrier” signal using the output of another “modulator” signal.
To put it another way, the modulator can cause fluctuation of amplitude around some
value other than 0,hence it is always + or -(never 0)
DC Offset: direct current(positive value)

Additive synthesis example: Partial~ patch
#P window setfont "Sans Serif" 9.;
#P window linecount 1;
#P newex 10 119 34 196617 pass~;
#N comlet partial # (multiplier);
#P inlet 149 27 15 0;
#P window setfont Arial 9.;
#P comment 48 120 74 131137545 specified partial;
#N comlet (signal) Sinusoidal partial;
#P outlet 11 141 15 0;
#P window setfont "Fixedwidth Serif" 10.;
#P newex 390 66 38 1441802 line~;
#N comlet Phase;
#P inlet 313 27 15 0;
#P window setfont Arial 9.;
#P comment 328 28 32 131137545 phase;
#P comment 405 28 107 131137545 amplitude and delta time;
#N comlet Amplitude and delta time;
#P inlet 390 27 15 0;
#P window setfont "Fixedwidth Serif" 10.;
#P newex 11 92 389 1441802 *~;
#P window setfont Arial 9.;
#P comment 26 28 101 131137545 fundamental frequency;
#P window setfont "Fixedwidth Serif" 10.;
#P newex 11 66 312 1441802 cycle~;
#N comlet Fundamental frequency;
#P inlet 11 27 15 0;
#P newex 11 45 148 1441802 * $1;
#P window setfont Arial 9.;
#P comment 164 28 131 131137545 partial # (ratio to fundamental);
#P connect 10 0 5 1;
#P connect 6 0 10 0;
#P connect 9 0 3 1;
#P connect 13 0 1 1;
#P connect 14 0 11 0;
#P connect 3 0 5 0;
#P connect 1 0 3 0;
#P connect 2 0 1 0;
#P connect 5 0 14 0;
#P window clipboard copycount 15;

Simple Synth patch: Simple Synth converts midi values into its corresponding frequencies and uses envelope generator to demonstate the process of additive synthesis.You have the option of either playing through the keyboard or click button to play random 100 midi values.
#P window setfont "Sans Serif" 9.;
#P window linecount 1;
#P comment 367 34 100 196617 vinny Bhagat 2006;
#P newex 42 65 52 196617 metro 50;
#P toggle 42 42 15 0;
#P newex 42 87 64 196617 random 100;
#P window linecount 2;
#P comment 77 236 54 196617 converted frequency;
#P number 41 179 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P number 41 240 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P window linecount 1;
#P message 179 168 33 196617 clear;
#P user number~ 5 348 44 363 9 3 3 2 0. 0. 0 0. 250 0. 0 0 0 221 221 221 222 222 222 0 0 0;
#P message 118 347 27 196617 stop;
#P message 52 348 65 196617 startwindow;
#P newex 41 382 29 196617 dac~;
#P newex 234 294 50 196617 line~ 0.5;
#P user function 171 187 371 287 1 1 0 0;
#X frgb 82 82 82;
#X brgb 204 204 204;
#X rgb2 85 85 85;
#X rgb3 255 255 255;
#X rgb4 0 0 0;
#X rgb5 0 0 0;
#X add 10.638297 0.72 2;
#X add 234.042542 0.613333 2;
#X add 377.659576 0.853333 2;
#X add 606.382935 0.733333 2;
#X add 632.978699 0.346667 2;
#X add 941.489319 0.24 2;
#X domain 1000.;
#X range 0. 1.;
#X done;
#P newex 41 316 41 196617 *~ 0.5;
#P newex 41 292 61 196617 cycle~ 440;
#P newex 41 208 31 196617 mtof;
#P user kslider 41 110 54 0 36 60 31 12 0 128 128 128 128 128 128 255 255 255 0 0 0 0 0 0;
#P comment 77 180 82 196617 midi note number;
#P comment 59 43 125 196617 click to play random tones;
#P window setfont "Arial Black" 14.;
#P comment 210 18 116 791478286 Simple Synth;
#P fasten 6 0 12 0 46 340 10 340;
#P fasten 17 0 3 0 47 101 46 101;
#P fasten 3 0 15 0 46 172 46 172;
#P connect 15 0 4 0;
#P connect 4 0 14 0;
#P connect 14 0 5 0;
#P connect 5 0 6 0;
#P connect 6 0 9 0;
#P fasten 10 0 9 0 57 372 46 372;
#P fasten 11 0 9 0 123 376 46 376;
#P connect 18 0 19 0;
#P connect 19 0 17 0;
#P fasten 8 0 6 1 239 313 77 313;
#P fasten 3 0 7 0 46 167 176 167;
#P fasten 13 0 7 0 184 185 176 185;
#P connect 7 1 8 0;
#P window clipboard copycount 21;

-------------------------------------------------------------------------
Forum Presentation by myself:

What is a ‘rag’ ?
‘Rag’ is derived from Sanskrit word ‘raga’ which means “colour or passion” (Apte 1987).There is no direct translation in English which explains a ‘rag’.However it is a combination of different characteristics.

* Scale/Mode/selection of notes
* Ascending and descending structure
* Level of significance - Some are important notes and others are less
* Movements.
* Time of the day

Raag Yaman : This rag has a strong association with the evening. It uses all seven notes of the scale ie
1 2 3 #4 5 6 7 with 3rd being a stronger note and 7th being less slightly than 3rd .
#4 suggests it is a Lydian mode with structure of T T T S T T S

Significance of drone : The function of the drone is to provide a firm harmonic base to the music.Normally root note and 5th is played on tanpura.

This improvisation is derived from one of the compositions I was taught by my first music teacher,
Mr. Bhasker Bose. He is responsible for introducing me to music and I dedicate this performance to him.

References
(1)Haines,Christian.2006.Audio Arts lecture on Sound Design for Games.University Of Adelaide.8 August'06.
(2)Haines,Christian.2006.Creative Computing lecture on Max/Msp.University Of Adelaide.10 August'06.
(3)Klose,Ashley.2006.Lectures on Sound Design for Films.University Of Adelaide.8 August'06
(4)Msp Tutorials and Topics.2006.Cycling 74
(5)Bhagat,Vinny.2006.Presentation a the Forum.Program Note.University Of Adelaide.10 August'06

Torque - Game engine

The Torque Game Engine was originally developed by Dynamix for Tribes 2.
Core Features.

* Full C++ source code to the engine
* C++ like syntax

TOOL Generator
* Mesh exporters for Maya, 3D Studio Max, LightWave, Blender
* Uses UDP and TCP for networking
* Uses optimal Notified Delivery Protocol

SOUND

* Multi-channel prioritized SFX manager
* 3D sound support; panning, volume, Doppler, cones
* OpenAL
Torque, uses OpenAL—an open-source audio API(Application Programmer's Interface).
Audio Profiles and Datablocks
Torque uses the concept of datablocks and profiles to help define and organize resources
for use in the game.

Audio datablocks are defined using the keyword AudioDescription when they are defined.
Here is an example of an audio datablock:
new AudioDescription(AudioTest)
{
volume = 1.0;
isLooping= false;
is3D = false;
type = 0;
};

Example for creating a profile:

new AudioProfile(AudioTestProfile)
{
filename = "~/data/sound/test.wav";
description = "AudioTest";
};

References :
Finney C . Kenneth. "3D Game Programming All in One".Thomson Course Technology

Week 2

Game project : System Analysis/History of Games
1.System - gaming console(RAM,CPU,HD,soundcard,BD,SR,BR(CODEC),Stereo,5.1,2.1,PC3D
2.Medium - DVD,file based,blue ray
3.Reproduction - Sound reinforcement(sound system,stereo compatibility,2.1,5.1,3D
4.Engine - Half life,unreal etc{Mediums,CODEC,MIDI,synthesis engine,PCM,GM engine,chip engine}

DVD Data - Storage,size,read rates(data),memory,SR,BD,BR

QUOTE OF THE DAY : LIMITATIONS IS NOT EQUIVALENT TO RESTRICTED FREEDOM

Channel*BD*SR = bits/sec
1*16*44100 = 705600 bits per sec
Buffer size = 1024
Standard CD Kpbs = bits per sec/buffer size

Creative computing : Fundamentals of MSP

• Signals
• Audio on/off
• Routing / Mixing

dac~ : Audio output -Connect signals to a dac~ to hear them. Also, you can send messages to a dac~ to start and stop the audio. The easiest thing to do for audio on/off is to connect a toggle to dac~'s left inlet.

adc~ : Output audio from computer's input source - adc~ (which stands for "analog-to-digital conversion)" receives multiple channels of audio in and sends it to its outputs as signals. It receives messages to turn audio on and off.


ezidac~ - Simple iconic 2 channel audio output(turns on all windows)ezdac~ accepts all the messages that dac~ does, except that you can't double click on it to see the DSP Status window. You can, however, send it the "open" message to do so.

eziadc~ - Simple iconic 2 channel audio input (turns on all windows)ezadc~ accepts all the messages that adc~ does, except that you can't double click on it to see the DSP Status window. You can, however, send it the "open" message to do so.


Send~ and receive~ : The send and receive objects allow you to send any kind of message between Patcher windows or within a window without using patch cords. The order of reception by two or more receive objects is not deterministic.

Ubmenu : non-interrupting pop-up menu -The menu can be used to display text associated with incoming numbers.Items start at 0.


Gate~ : Switch input to different output signals - It takes an argument for number of outputs (one is the default) and lets you route an incoming signal by sending an int to its left inlet. It can also control the activation or deactivation of part of a signal processing network.

Selector~ :Switch output among several input signals - It takes an argument for number of inputs (one is the default) and lets you turn incoming signals on and off by sending an int to its left inlet.

Selector Patch
#P window setfont "Sans Serif" 9.;
#P window linecount 1;
#P message 107 46 14 196617 3;
#P message 91 46 14 196617 2;
#P message 75 46 14 196617 1;
#P message 60 46 14 196617 0;
#P newex 224 44 61 196617 cycle~ 440;
#P newex 166 45 55 196617 cycle~ 70;
#P newex 124 45 39 196617 noise~;
#P message 78 193 27 196617 stop;
#P message 9 193 65 196617 startwindow;
#P newex 163 191 39 196617 *~ 0.2;
#P newex 108 226 65 196617 dac~;
#P newex 108 192 39 196617 *~ 0.2;
#P comment 13 179 69 196617 start audio;
#P newex 132 109 62 196617 selector~ 3;
#P fasten 0 0 2 0 137 164 113 164;
#P connect 2 0 3 0;
#P fasten 5 0 3 0 14 220 113 220;
#P fasten 6 0 3 0 83 220 113 220;
#P fasten 13 0 0 0 112 88 137 88;
#P fasten 12 0 0 0 96 92 137 92;
#P fasten 11 0 0 0 80 97 137 97;
#P fasten 10 0 0 0 65 101 137 101;
#P fasten 7 0 0 1 129 85 154 85;
#P fasten 0 0 4 0 137 164 168 164;
#P connect 4 0 3 1;
#P connect 8 0 0 2;
#P fasten 9 0 0 3 229 85 188 85;
#P window clipboard copycount 14;


References:
(1)Haines,Christian.2006.Audio Arts lecture on Sound Design for Games.University Of Adelaide.1 August'06.
(2)Haines,Christian.2006.Creative Computing lecture on Max/Msp.University Of Adelaide.3 August'06.
(3)Msp Tutorials and Topics.2006.Cycling 74

-----------------------------
2 August'06 7pm - gig with Wez and group for the opening of SALA festival,Uni SA,Arts school : It was fun playing drum kit after such a long time but actually embaracing as well with what the group was trying to acheive.Lots of feedback,scratching, untimely congos,never stopping cowbell with didj fattening the over all sound,as if it was needed and the looks on some of the people were saying "guys please turn down the volume".Ah well,that is life.I was enjoying playing the kit and anything else didn't bother me.To be honest i loved it.But never again Wez..

The same weekend I am off to sydney to attend one of my friends engagment.
Gurpreet Singh Sodhi - A friend who is really very close to me.It took me a fair while to understand his love for me.This guy bought me drum accessories from Australia,when I was still in India,got me a beautiful Yamaha wooden Picolo snare drum from london,I was still in India and now he has booked air tickets for me to come and attend his engagement.This is how much he loves me.God Bless "Gurpreet and Shimona"..

Sem2..Week 1

Sound Design
Introduction to Sound Design

Design – structure / organized – Plan/map for objects
n verb – act of designing,, planning , sketching or the process of doing..

Sound – and audible event ( physical/psychophysical )
Eg music,sound for sound objects,sonority

Victorion – modernist—Pomo
Bauhans, grophins

Form --- function
Fine arts – architecture

‘Relationship of the materials’
Form --------------------------------------------------------------Function
Fine Arts --- architectural,industrial,sound design--------- engineers

Sound Design for film
Target – medium/object
-- form (aesthetic) + function (use/role)
sound logo/symbol, film, game, web page, multimedia, mobile, electric toaster, internet fridge

Similar fields : Design studies, graphic design, industrial design and architecture

“ Relationship of letters, shapes etc in graphic design”
-- relative to distance
-- form and function of letters and how they relate to the real world.
.Eg design output -- aesthetic

Creative Computing - Msp~
Overview of MSP environment differences to max
• Target outcomes such as application, plugin development, performance tool etc
• Testing
Test Tone :
#P window setfont "Fixedwidth Serif" 10.;
#P window linecount 1;
#P newex 8 29 64 1441802 cycle~ 60;
#B color 5;
#P message 110 30 38 1441802 start;
#P message 75 30 32 1441802 stop;
#P newex 8 83 32 1441802 dac~;
#B color 5;
#P connect 3 0 0 0;
#P fasten 2 0 0 0 115 59 13 59;
#P fasten 1 0 0 0 80 66 13 66;
#P fasten 3 0 0 1 13 51 35 51;
#P window clipboard copycount 4;


Ambience
#P window setfont "Sans Serif" 9.;
#P window linecount 1;
#P message 191 175 27 196617 stop;
#P message 122 175 65 196617 startwindow;
#P newex 26 212 29 196617 dac~;
#P newex 26 173 39 196617 *~ 0.2;
#P flonum 302 88 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P message 210 59 90 196617 200 \, 10000 4000;
#P newex 210 84 51 196617 line~ 200;
#P flonum 118 89 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P newex 26 64 35 196617 noise~;
#P newex 26 126 286 196617 reson~ 1. 200 23;
#B color 5;
#P comment 35 111 59 196617 input signal;
#P comment 210 44 173 196617 • click to ramp up center frequency;
#P comment 220 111 61 196617 center freq;
#P comment 128 111 28 196617 gain;
#P comment 310 73 147 196617 •try range of 1-100 for Q;
#P comment 311 110 15 196617 Q;
#P comment 123 160 73 196617 • start audio;
#P comment 36 146 73 196617 filtered output;
#P connect 14 0 15 0;
#P connect 14 0 15 1;
#P connect 9 0 8 0;
#P connect 8 0 14 0;
#P fasten 16 0 15 0 127 201 31 201;
#P fasten 17 0 15 0 196 201 31 201;
#P connect 10 0 8 1;
#P connect 12 0 11 0;
#P connect 11 0 8 2;
#P connect 13 0 8 3;
#P window clipboard copycount 18;

Poster for ACMC'o6

Smart Controller

Abstract

My particular interest lies in spontaneity of music, especially in a concert situation. This paper talks about few ideas of implementing Mini MIDI con-troller in a live performance. One key limitation with laptop performance is interaction of a com-puter with a human player or vice versa. In an im-provised performance this device would act as a source of communication. between man and a ma-chine. The endless options it gives you by convert-ing voltages into bytes and sending it across to mul-tiple devices, opens up a whole new world of com-position process either in a concert situation or in a studio environment.

Introduction:

The Mini MIDI Controller is a device used for con-verting control voltages to definable MIDI mes-sages and visa versa. I believe making use of CV-MIDI Controller could solve some of the limita-tions, which we encounter in improvised computer performances.

Generating multiple sound sources from a single sound source – By generating MIDI note values from voltages of a single sound source, these values can be used to generate tones for different instruments. For instance piano sound can be used to generate ambience, bass or percus-sions when manipulated in applications such as Max/Msp. Hence forming a sense of ensemble from a single player complimenting the music both harmonically and rhythmically.

Visual representation: Within the area of live improvisation using computers as the medium I am practising how to generate a visual represen-tation of the performance. By converting the final mix of a performance into MIDI values, these bytes could to be used to generate a visual representation of the performance or manipulate projections or still images taken from that space. Hence achiev-ing an audio-visual result, which is truly real time.
Sending Messages: Open Sound Control is a new protocol for communication among computers, sound synthesizers, and other multimedia devices using modern technologies. It would form a chain between hardware and software devices used in the performance.
It comes with an upgradeable feature of wireless networking via Bluetooth. In other words by mak-ing use of “Open Sound Control” I can send and re-ceive messages without being physically connect-ing the devise.

References :
Fraietta, Angelo. Mini MIDI Controller Manual. http://www.smartcontroller.com.au/miniMidi/miniMidiController.html 3 July’06
Matthew, Wright and Freed,Adrian.2006. Docmentation on Open Sound Control. Center for New Music and Audio Technologies, U.C. Berkeley

ShiVna Kaun

Shivna Kaun is an Experimental Electronic Music project consisting of :









Vinny Bhagat—laptop/percussion/field recordings
Kym Gluyas – Saxophone/electronics
Chris Martin – Electric piano
Maria Fava - Video camera and Projections










Collaborations with other Artists:

Tyrell Blackburn : Laptop
Derek Pasco - Saxophone
Jay Dabgar - Tabla
Josh Benett : Sitar,guitar
Ashhar Farooqui : Voice and Fx
Tom Buchanan : Live Art
W.T Masseli - Art display
Maura Oregan : choreography
Lea Czikowski : choreography
Luke Toop – visual projections and video camera


Our performance is like a journey, which can start with ambient minimal found sounds and climbs to various areas of abstract sonic art and electronica. The music is created through code, artificially synthesized sound, rhythm’s and field recordings, all of which are processed in real time and accompanied by more human players on various acoustic instruments , video camera , objects and tools, that often puts the listener into an unfamilair "interesting-spatial" environment. The spontaneous nature of the music means you hear a one off performance.

History and Gigs:
Meeting at The Elder Conservatorium Of Music, University Of Adelaide we started an improvised computer music project in April 2005 that began with our first live performance on South Australian Composers Symposium - Radio Adelaide.Thanks to presenter Alex Carpenter for his offering.
Originally only putting the group together for this performance, we found our selves being offered a show for the opening of The Delicatessen Gallery @ 2005 and then a slot on the bi monthly COMA performance’s (Creative Original Music Adelaide) by the listeners for the Hipnote Autumn Sessions 2005. Since then the group has evolved into various streams of experimental music, computer music and visual Art and now its led by Vinny Bhagat often inviting other artists from diverse backgrounds from Adelaide, interstate and overseas to perform in the concerts. Distributed performances is an highly interesting concept, breaking all the barriers of distance, performers in one physical place and traditional musical practises. Still a long way to go, but definately this is/will be/can be the new way of performances.

Shivna Kaun Quartet

*noise
*nature
*hammers
*landslides

“Whereas, in the past, the point of disagreement has been between dissonance and consonance, it will be in the immediate future, between noise and so called musical sounds”(John Cage 1966)
Noise is often thought of as the opposite of music, something that is undesirable and ugly. Music of different cultures have made a clear distinction between musical sounds and noise. To Helmholtz musical sound was “…. a perfectly undisturbed, uniform sound which remains unaltered as long as it exists” (Helmholtz 1954). The term ‘noise’ is itself a description of a timbre. In comparison, musical tones are ‘regular and uniform’ whereas noises are ‘confused and irregular’. Splashing of water, whistling of the wind, a boiling kettle or a passing truck are all examples of musical noises. “Noises are useful to new music as so called musical sounds for the simple reason that they are sounds”(Walker 1970).

“However if the word “music” is sacred and reserved for eighteenth and nineteenth century instruments, we can substitute a more meaningful term: organization of sound” (John Cage 1966)
“Music Concrete, one of the early forms of electronic music grew out of the fascination with the musical possibilities of environmental noise”. (Abraham 1960). Percussion music on the other hand is influenced from a similar idea where the point of reference is the underlying rhythm, to the extent that any sound is acceptable to the composer.
Electronic music is only limited by the relationship that exists between the human ear, the mind and the acoustic sound. However “it is clear that the composer of electronic music should not attempt to imitate timbres of traditional instruments”(Stockhausen 1962), it becomes a necessity for the audience not to accept any familiar patterns and sounds their ears are use to.
Shivna Kaun looks to stretch the scope of deep listening and sonic meditations to a larger audience.
2005 Gig Guide
* South Australian Composers Symposium - Radio Adelaide, 11am, 21 April 2005
* Opening of the Delicatessen Gallery, July 2005
*COMA (Creative Original Music Adelaide) 15 Aug'05 –Wheatsheaf 8PM

2006 Gig Guide:

* Fringe 06- Fresh Bait , 27 Feb & 6 March, Fowlers live 68 North Terrace
* Tyndall Assembly – 16 March , Delicatessen Gallery 7PM
* Lizard Lounge ,Hindley Street 19 March 8PM
* Local Noise 9 May Radio Adelaide 101.5 FM 9 Pm
* ACMC'06 and Ear Poke at Jade Monkey 12 July'06 -- 8pm onwards
* Adelade University - Uni Bar 28 July'06 6Pm
* SALA Exhibition 7 August’o6 (opening night)
* COMA (Creative Original Music Adelaide) 21 Aug 06 –Wheatsheaf 8PM

2007 Gig guide

* Allans Music Store -- Adelaide : 19 January, 5pm
* "Hope for Genreation" Producers bar -- 1 July, 11pm
* "Tyndall Assembly", Gallery De la catseen -- 26 July ,8pm
* Visa expiration Party -- COMA, Wheatsheaf -- 10 September, 8pm
* Exeter - experimental wednesdays

2008 gig guide
* Exeter - experimental wednesdays..2 jan
* Coma, Hipnote Summer series @ Wheatsheaf Hotel, Adelaide - 7th Jan
* NowNow Festival.."Festival Club".. Blue Mountains..NSW.. 18,19Jan..
* Dela catseen Gallery, Adelaide. 7th Feb'2008 .. 7pm
* Togetherness Show.Adelaide.. Rymel Park. 17 Feb 2008.. late avo..

=======
WORKS
=======

* Excerpt : Video Feedback, 2007
( Music by Vinny Bhagat and Video by Maria Fava )

Tracks: ( All tracks written and composed by Vinny Bhagat)
* Chattswood ( 2008 )
* Sonic Textures (2007)
* Timbre Tree (2007)
* super_network work(2007)
* Mosque in war times (2007)
* Birth Chart (2006 )

Concert excerpts:
* HipNote Winter Sessions @ Wheatsheaf,Adelaide 7.1.2008
Excerpt 1 Excerpt 2 Excerpt 3 Excerpt 4 Excerpt 5

* Angry Jam,2006
* Allans Music, Adelaide, Jan 2006
* Fowlers Live, Adelaide Fringe 2006
* Kym's place,2005

Sound Design Works
* What is Music ( 2007 ) Film By Daniel Murtagh
* Worms ( 2007 ) Animation by Tim Forbes and Christina Erdos
* Emergence Games Sound Logo (2006)
* L'vertie Incroyable. Film by Tamas Major ( 2006)
* Bushanza..Animation by Ronald Keller..( 2005)


Tribute
* Om Jai ( Indian Prayer for the Gods )
* Hot Rodes : to hand playing

Video Exploration
* Incident of Video Feedback ( Music Work in Progress )

Jazz: Whats Next

“What’s next?” an article by John Szwed raises a lot of questions in my mind really to do with preserving the culture and traditions associated withJazz. Music that came out in that era is a symbol of cruelty faced by blackpeople. It’s an expression of people who were weak, poor and were inpain. Now in today’s world we can transcribe their solos and play everynote that they played but what about the state of mind they were in. Have we seen the hard time those guys had to experience? No, then how can we play the music like them. Recordings made during the early days is one of the most important source which tells the sound of early jazz and help musicians to do a study on them. Clearly jazz musicians of today’s world improvise on tunes made few decades ago.” 1Jazz can never repeat its past nor escapes it, it constantly adds and modifies everything that has gone before”. To me, the most important characteristic of jazz is to change, to modify, to improvise, to alter and express. Another important characteristic of jazz is to be innovative, break rules, do some thing new and what is weird is good. Humans always look for change and there is always the next step. There has been no looking back ever since human existence. Jazz will constantly modify itself, (2"which is quite clear from the twists and turns taken through out its short life) may be now, by making use of modern technologies..!“3Such a music cheerfully escapes definition and prognostication”.

Bibliography:
Szwed, John F.2000. Jazz 101: A Complete Guide to learning and loving Jazz. New York:
Hyperion. Chapter 31. “ Whats Next?” pp 289-292

Refrences:

http://www.monkzone.com/biographyHTML.htm 27 march’06
Black America. John F. Szwed. Basic books Inc. New York, NY. 1970
http://www.americanclave.com/1-kip.html 27 march’06
Lerner Murray 2004, A Different Kind of Blue . Miles Electric - DVD Commentry
1 Szwed, John F.2000. Jazz 101: A Complete Guide to learning and loving Jazz. New York: Hyperion.
Chapter 31. “ Whats Next?” pp 289-292
2 Szwed, John F.2000. Jazz 101: A Complete Guide to learning and loving Jazz. New York: Hyperion.
Chapter 31. “ Whats Next?” pp 289-292
3 Szwed, John F.2000. Jazz 101: A Complete Guide to learning and loving Jazz. New York: Hyperion.
Chapter 31. “ Whats Next?” pp 289-292

Week 12

Why do we play music : If you are an African there is no such thing as "art music". Music is a part of everyday life.Every ceremony and religious activity is complimented by music,to an extent that if drummers are not present the ceremony would not take place..If you are an Indian, u wont have your first meal before you sing a small prayer in your private temple..If you are none of that you still want music to be the most imortant thing in your life.


Test: How much Is music Important to you ??
Light a candle..
Put your hand on the flame..
Now start counting till 10..(bpm = 6000 ms)
Start questioning your self ..
Is my max patch working ?
Have I done my blog ?
Is my mix peaking ?
Can I play 1 4 7 3 6 2 5 1 in all 12 keys ?

I f you answered all of that,in no time you will be a legend..
If not, you will feel that nothing in this world is more important than the last breath you just took...

Week 11 ..Stephen Whittington

Stephen Whittington (b.1953) Composer, pianist, writer and music critic.
Director - Electronic Music Unit at the the Elder Conservatorium Adelaide where he teaches composition, music theory, acoustics and electronic music.
"As a pianist, he is renowned as an interpreter of contemporary music."
List of few works:
^1988 - X is Dead , Homage to Pierre Boulez
^1994 - Distributed Improvisation live to air on ABC - Fm
^1996 - 1988 - Distributed Synchronicity experiments
^2000 - Music Of The Spheres,
Contemporary Art Center of South Australia
^2003 - Pitch Web Improvisation , Museum Brisbane
^2005 - Present Ongoing experiments using VOIP (Voice Over internet Protocol)

Distributed Music Performance : "Any music perfrormance in which the performers are not in close proximety to one another. They may be anywhere from the other side of the hall to the other side of world"... OR may be in a different galaxy.
This can get really interesting when tried with people of similar thinking or close ones.The result can be taken as a measure of their closeness to one another.
It would give even more interesting result when tried with people who have no clue whom they are playing with and dont know each other or may be they are playing totally different genre of music ..
I think the later one is an extreme case, "Handle with care" .
I can imagine that music and cant stop saying, "WHAT"....

^ Ventures in Vocoding (Hardware of software implementation of speach based compression algorhythm)
^ Utterence : Any human vocal sound including but not restricted to speech and speech like sounds.
Music Of Spheres : Performers will assemble a variety of quotations related to the idea of music of spheres.
Read : Serious Immobilities : On the centenary of Erik Satie's Vexations - Stephen Whittington

References :

Whittington , Stephen .2006. Presentaion at the Forum : Ventures in vocoding and Distributed Music Performance. 25 May ' 2006.University Of Adelaide
Original image source : http://www.emu.adelaide.edu.au/about/staff/stephen.whittington.html

Week 10.. Music Copyright LAw

This is some serious stuff man..Understand it fully.A lot of this stuff is not meant to please you but make sure to take due care..
Important information for Music Copyright Stuff for musicians -
" Statue based - coptright Act :
Automatic - no registration needed .. Once you create anything it becomes your property
Protects 'works , musical and sound recording. Protects expression, not idea. "
check websites : link

www.weatherall.blogspot.com

week 9..

Listening :
"The objective was to experience mainly popular music in unusual ways. The outcomes were to hear strikingly different artists remixed as a short encore-like package by Christian Marclay and as a long expanded "Theme and Variations" form with Pink Floyd."


Christian Marclay : Born 1955, San Rafael, California, USA.

1. Johann Strauss
2. Jimi Hendrix
3. John Cage
4. Maria Callas
from "More Encores"
ReR Megacorp 1988
ReR CM1 2677
original picture source : http://www.furious.com/perfect/christianmarclay.html



Pink Floyd " So, so you think you can tell Heaven from Hell,
...
Do you think you can tell?"
Shine On You Crazy Diamond Parts I-XI 1975
from "Wish You Were Here"
1975 Pink Floyd Music Limited
SBP 234651
http://www.lyricsondemand.com/p/pinkfloydlyrics/wishyouwereherelyrics.html , 3 June'06

week 8..

Listening:

The objectives are to experience the use of electronic instruments and methods in different genres. The outcomes were to hear the use of a theremin in the Led Zeppelin, tape collage methods in Pink Floyd's "Relics" and the Pierre Henry and the use of the VCS3 in the Pink Floyd track "Breathe".
---------------------------------------------

1. "Whole Lotta Love" 1969
Led Zeppelin
from "Led Zeppelin II"
Atlantic SD 8236
http://en.wikipedia.org/wiki/Led_Zeppelin





2. "Bike" 1968
Pink Floyd
from "Relics"
DRUM 8026
SOELP 9791
http://www.allposters.com/gallery.asp?aid=484861043&c=c&search=587&cat=122&GCID=s15100x008%2DMusic&KEYWORD=Pink+Floyd+posters


3. "Breathe" 1973
Pink Floyd
from "Dark Side of the Moon"
EMI SHVL 804
http://www.allposters.com/gallery.asp?aid=484861043&c=c&search=587&cat=122&GCID=s15100x008%2DMusic&KEYWORD=Pink+Floyd+posters


4. "Voile d'Orphee" 1953
Pierre Henry
harmonia mundi
HMA 1905200
http://www.discogs.com/viewimages?what=R&obid=321972

Week 7..

Listening : The objective of this week was to contrast electronic with acoustic and modernist with minimalist. The outcomes include hearing graph music interpreted electronically with Xenakis, experimental bottleneck guitar and a famous minimalist piece.



1. Iannis Xenakis (1922-2001 )
Voyage absolu des Unari vers Andromede 1989
Perspectives of New Music PNM 28
http://www.karadar.com/PhotoGallery/xenakis.html





2.Gabriele Manca
In Flagranti 1990 performed by Geoffrey Morris
ABC Classics 465 701-2
http://www.milanomusica.org/autori/manca.html







3. Philip Glass
Rubric : performed by The Phil Glass Ensemble
CBS MK 39539
Another interesting link
http://www.starpulse.com/Music/Glass,_Philip/Pictures/






Presentation : Seb Tomczak (honours student)
The use of non musical elements in composition, largely via music technology. The presentation focused on the milkcrate project, where rules limiting materials, space, time and productivity control the music making process.

Creative Computing : Send and receive objects; message management; patcher object, custom objects and encapsulaton; arguments.
Task: Tutorials 24 - 29 in Max Tutorials and Topics

Audio Arts : Anzac Day celebration

Science Of Music : "Uncertainity Principle" , John Cage Lectures 1-6
Media Students shoots us as we get ready for field trip.
Trip to anechoic and reveration acoustic test chambers

http://en.wikipedia.org/wiki/Image:Anechoic_chamber.jpg





The second half of the class was dedicated to Matthew Sorell,lecturer of mathematics University Of Adelaide.He presents the ideas and probabilities used in bell ringing.A trip to the cathedral is scheduled for next week where we see bell ringers practise session.

The same day I meet S W Satyandra , sitar player from bombay who is currently in Adelaide as a tourist.An intersting jam on sitar and dhup but i missed the 'tihai" he played at the ending.It was a "chakardhar" tihai which I heard after a long time. He played the same thing again and this time we finished together..
I remember playing some Indian spritual songs with rinku but this was the first time I had to play them in a concert.In a way it was really funny playing "Govind Bolo Kabhi Gopal Bolo" but then I just got indulged with its groove and just forgot where and whom I was playing for.
He has given me 4 more dates to play and one of them is at Osho Ashram in Adelaide on 6 may'06.So be there if u live in adelaide..

week 6..

Audio Arts: Recording Drum Kit

Getting a good sound from an acoustic dum kit has always been a challenge. To start with make sure your skins are fairly new and are tuned accordingly.All the nuts are tight and are not in contact with any another drum as this will produce undesirable noise.There are various techniques which one can apply depending on style/genre/skill of the player.When recording a rock or metal band the focus lies on giving as much detail whereas a jazz player would like more acoustic properties of the space blended with the sound of his kit.

Close Miking: This is a very common practise for live situations in larger venues and is very often used in recording studios. Each drum of the kit is closely and separately miked giving you every possible detail.

Kick: Hole mounted, not touching; 15-20 cms from the skin.Applying correct padding is very important as this will contribute largely on the thickness and punch of your bassdrum.Make sure you pedal is not making any unnecesssary noise.
Microphone choice: Beta 52,AKG's or Sen MD421

Snare: Snare requires a mic that can handle very high SPL so a dynamic microphone is usually chosen. To avoid picking up the hi-hat in the snare mic, aim the null of the snare mic towards the hi-hat.we applied another microphone at the bottoom of the snare to capture the vibrations produced by the snare.This can give you interesting results as the gros notes would be more audible. But, remember the phasing issue caused by microphones facing each other.Inverting this track would correct it .A combination sound of both the microphones would give you a desirable result.
Microphone choice: Shure Sm58, 57,Sen825

Toms: One microphone with a wider polar pattern between 1st and 2nd Tom, close to the head (approx 5-10cms depending on how it is sounding). Alternately one can use NT4, as it would give each mono channel for both the toms.Have an individual microphone for your floor tom and apply similar techniques.

Overheads : Cymbals (ride, crash, splash, china, hi hats): The brilliance and high frequencies of cymbals are picked up best by a flat response condenser mic. Two condenser microphones panned hard left and right at a reasonable height above the toms.
Microphone choice: NT5, Newman K57i.

This would give the stereo image of the recording source. Also, a pair of microphones at a distance captures instrument timbres more accurately than close up mics. Close-miked instruments sometimes sound too bright, edgy, and detailed.This is what the player has to decide depending on the genre of music he is playing and the sound he is after.
Choice of Microphones: Omni, condenser with a large diaphragm about 1.5-3 meters from each other. Microphones like U87/89; AKG C414

Drum kit is what drives the music together with the bass player.Spend as much possible time on getting just the right sound you are after.Apply correct microphone placement techniques with "just" the right gain structure.
{Good Luck..!}

Forum: Listening

1. Edgard Varese (1883-1965)
Ecuatorial 1934
bass singer, 4 trumpets, 4 trombones, piano, 2 Ondes Martenot and 5 percussion
performed by The Contemporary Chamber Ensemble with Arthur Weisberg conductor
Nonesuch Records 1972 H-71269
http://www.karadar.com/PhotoGallery/varese.html 13may'06


2. Milton Babbitt : b 1916, Philadelphia
Ensembles for Synthesiser 1954
Columbia MS 7051
Milton Babbitt is an american composer, teaches at Princeton University and Juilliard as Professor of Composition
http://www.furious.com/perfect/ohm/babbitt.html 13may'06



3. Barry Truax
The Wings of Nike 1. Album 1987
Perspectives of New Music PNM 28
-- for computer images and two digital soundtracks
--Professor in the School of Communication and the School for the Contemporary Arts at Simon Fraser University for acoustic communication and electroacoustic music.
http://www.sfu.ca/~truax/bios.html



Forum discussion about music technology and its interdisciplinary strands. A brief history of electronic and computer music at EMU .
Panel members --
Stephen Whittington :Director of Electronic Music Unit at the the Elder Conservatorium and teaches composition, music theory, acoustics and electronic music.

Dr Mark Carroll : A Senior Lecturer in Music at the Elder School of Music at The University of Adelaide.

Tristan Louth-Robins (Masters student at EMU)