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}

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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

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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;
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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.
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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..
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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;
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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/