Attempt 1 = Tyrell controlling frequency and vinny controlling amplitude & Pan
Attempt 2 = Vinny controlling frequency and Tyrell controlling amplitude & Pan
Wednesday, July 04, 2007
IMNp
Interconnected Musical Network Performance with SuperCollider
Attempt 1 = Tyrell controlling frequency and vinny controlling amplitude & Pan
Attempt 2 = Vinny controlling frequency and Tyrell controlling amplitude & Pan
Attempt 1 = Tyrell controlling frequency and vinny controlling amplitude & Pan
Attempt 2 = Vinny controlling frequency and Tyrell controlling amplitude & Pan
Wednesday, June 27, 2007
Projects
Creative computing ;: My first composition with SuperCollider. The basic model of the tree is constructed by defining the stems of the tree that are the sound sources for SynthDef’s.I have called my work as " Timbre Tree". The process started by generating stills of a tree in Photoshop . I was amazed to see how visual representations can give elobrate ideas and can become the foundation of a piece. I have tried to express what I was seeing in those stills.The tree can have several shapes, depending on how the performer moulds it.One picture of a tree has climbed various stages of filtering. The print has reached the stage of wind shaping the frequencies and patterns, in a way symbolising the feedback process.
I have used various kinds of Noise generating Ugens contained in SynthDef's to shape this piece.These SynthDef's are modulated by their own signal through the feedback engine. Having ‘just’ the right volume without excessive feedback is the key for the performance. After switching the engine, the player can decide either to modulate the incoming signal feeding on to itself or play the table, clap or speak to generate more textures for the tree. A user input sound generation process feeding itself which is played back from the same set of speakers. I played the ‘table on which my laptop was sitting and have also used my laptops body to generate sound. An important point into consideration; my laptop is acting as a sound generating body both ‘physically’ and electronically.
I recorded this piece by close micing the speakers in Studio 2. This created another feedback environment in the chain and affected the overall timbre of the tree. "Life feeds on life, feeds on life and feeds on life".Similar concept applied to sOuNd.
In other words the speakers that are used to playback the SynthDef's are feeding their own signal through feedback engine. This modified signal is reproduced back into the same set of speakers. The end signal is then captured by two Newman U-87 microphones as ‘Left’ and ‘right’ and recorded onto proTools.
The recorded waveform had two sections .One constructed with dust particles and storms and the next section was recorded playing the table. This is very interesting. I have figured out that when my feedback engine is on and I am using the ‘line In’ as the internal microphone of my computer, it converts the table as a drum. Not just the table the whole environment is affected. Speech, abstract noises and even breathing gets amplified with the control of changing parameters like pitch, grain size, time dispersion and pitch dispersion. As the player increase the output of the amplifier. There will be a dense cluster of sonic cloud (use this very carefully, if the volume is high, you ears are at a high risk and so are the speakers.)
The AB section is then made Left = AB and Right = B(rev) A(rev). A mono file is then bounced down which is exported back on to Protools. I made another mono track of the bounce; this time I have A B B (rev) A(rev). I made another mono channel, copied the track, hard panned both the channels and then I got Left = A B B(rev) A(rev), Right = A(rev) B(rev) B A
I then applied panning to both the channels . Both the tracks simultaneously change their position and move to the corresponding speaker several times in the piece.
Score : My code contains instances of synth which can be run and paused at any given time by the performer.. It also contains a user changeable yet fixed scheduling duration of various Synth’s .It also contains a user input random duration scheduling for playing the different Synth’s.The player can decide when he would like to switch ‘on’ the feedback engine. He can then decide if he would like to feed the signal on its own or start playing anything and everything he desires in that acoustic space.Nothing is fixed from the author,go crazy with it.
jai rAm ji ki..
===================================================================
Audio Arts :
Ezulai is a highly unique band from Adelaide. Its influences draws from indi-rock to funk and from punk to jazz. All compositions are short song based originals with the vocals creating vivid stories and images resting upon a bed of twisted soundscapes. Ezulai seeks to utilize all forms of media to create a unique experience. I recorded their couple of songs but have only mixed their 3 songs so far. A little more work but the guys are all set to release their first EP.Tracks:
mumma
Cheap as a cigarette
Robbers Collar
contact : ezulai@optusnet.com.au>
Lizabella Baker – Vocals, Flamenco dance/drums
Maura O’Reagan – Vocals, Whistle
Julius Crawford – Bass, keyboards
Christian Hodgson - Guitar
Mousiour Duffur - Drums
===========================================================================
Music in Context 3A: Music since1900
" Mosque in war times "- 6'55 mins
download score
References:
Whittington.Stephen.2007.Lectures presented for Music in Context 3A.Music Since 1900.Elder Conservatorium of Music.University Of Adelaide
Thursday, June 14, 2007
PreProduction CC
The basis of my work will be exploring only a fraction of concepts that can be applied to composition using Mathematical Structures.I want to build a tree consisting of few different stems. I can call my tree as a “timbre tree” whose construction is defined by different random functions. The length of the tree is the order of execution of different stems and the breadth of the tree is the acoustic space under which the tree will grow.
The tree can be understood as an Environment and the stems as functions in SuperCollider. These functions are Synth Def’s that are modeled using different Ugens. The parameters of these Ugens will be generated by using random decision making procedures like coin, choose, Scramble, curdle.I could model the growth of a particular stem on Brownian movement. I can
also model growth of other stems on random procedures like Dwhite,Dbrown,Diwhite, Dibrown, Drand, or Dxrand.
I could also restrict myself by using only Random Ugens/signal generators for example Dust, PinkNoise, GrayNoise, BrownNoise and Crackle. Although this is a significant restriction ...
There could also be a function/stem in a tree, which is identical to another stem in its construction. I can apply “phase shift” to the stem by starting it at a different time from the previous one in the order of execution. Phase shifting smaller stems will result in grown stems that are now resultant stems, which are thicker and complex in their nature. This method can beused on simple or already complex rhythmic patterns to generate (morecomplex) new resultant patterns.
My tree will have a form of either ABBA or ABB’A’ or A B B (reverse) A (reverse).
When my tree is constructed, I could make a reverse copy of the waveform and then put normal and reversed in Left and right channels respectively.
These are the combinations I can have:
Left = ABB'A & Right = ABB'A (default)
Left = ABB’A’ & Right = A’ (rev) B’ (rev) B (rev) A (rev)
Left = ABA’B’ & Right = A B’ (rev) A’ (rev)
Left = ABA’B’ & Right = A B A’ (rev) B’ (rev)
Left = A B B (rev) A (rev)& Right = A (rev) B (rev) B A
Saturday, June 02, 2007
WEEK 12
Audio Arts: We looked and compared few mixed/unmasterd and masterd tracks in the workshop. Few things to remember :
*/ Mixing with mastering in your mind : It is very important you always mix with mastering in your mind. First of all recording should be of very high standards, secondly never apply hard compression, maximum normalisation and extreme Equalisation to your track at the mixing stage. Be aware of things which can enhanced in mastering stage. These things can never be undone and hence the quality will suffer.*/
Essentials: 4 things important for mastering
1 Ear : Everything depends on the hearing power of engineer who is mastering it. Healthy ear, familiarities with client expectancy with advanced knowledge of what you are doing.
2.Room : Having a balanced room is very important. A good room will always contribute in your ability to hear things properly.
3 Equipment : Equipment you use will make huge difference in the final outcome. Software plugins only give you a starting point nad any professional mastering is always done using industry standard hardware.
4. Speed and efficiency : Be efficient in terms of time, client will want more from you in less time. Basically practice to an extent when you have familiarized all the functions of your gear.
Dragos work : Here is the mastered version for dragos piece.
Plugin Screen shot : If you look at this screen shot,it tells you the stages how sound has been processed. I have used 3 VU metres for analysing the change. First one suggests inequality in left-right channels,the second one shows the result of limiting- setting the threshold level so that the signal never peaks,equalisation and joemeck equaliser: equal balancing between both the channels,cutting down annoying frequencies,enhancing a little bit of bottom end and touching up with Joemeck.In the second slot which is a bus, I have used bombfactory , big bottom and then compression. The last VU meter suggests consistency in level,no peaks through out the track and the track being cleaner and healthier. If you analyse 1st and 3rd VU meters there is not much difference in terms of levels,but there is defintely difference in what we finally hear now. The trouble was any slight increase in gain would result in peaking,so I made sure the signal does not peak through out the track even though I could not get the levels go any higher than this.
References:
(1)Grice, David.2007."Tutorials on Audio Arts (3) Semester 1, Week 12.Mastering(1)." Lecture presented at the Electronic Music Unit, University of Adelaide, South Australia, 29/05/2007.
(2) Readings on My Uni.Music Technology(3)2007.
(3)Waves Mastering Help
http://www.waves.com/objects/pdf/general/Update-and-Errata-web.pdf
viewed 29May'07
Forum : Whats happening next semester : Improvisations group with a defined appraoch
I must say the idea of student presentations in the forum was a waste of time for me.I think students should be given these oppurtunites in their respective classes.Building their confidence is one thing and punishing other people through this process is another.
Listening Examples :
2.Raga Sihendra madhyam by Dr, C Sardeshmuh
3. Terry Reli and Johny cale (velvet underground) : Improvisations ; church of Anthrax
4.Machine for making senses : Jim Denley, Rok Rue,chris Mann, Stevie Wishart and Amanda Phillips
5. Ross Bolleter : Crow country
6. Sun Ra and this Astro Intergalatic Infinity Arkestra : space is the place
7. Ryoanji - - cage 1985
8. Mr Ban'gal
Comprovisation :
"Free urself from the idea of self disciplane to improvise" : an idea of Sun Ra: contradictory, but u know what it means..
Scratch Orchestra : School time compositions
References :
(1) Whittington.Stephen.Forum. Semester 1, Week 12. Workshop presented at the Electronic Music Unit, University of Adelaide, South Australia, 31/05/2007.
*/ Mixing with mastering in your mind : It is very important you always mix with mastering in your mind. First of all recording should be of very high standards, secondly never apply hard compression, maximum normalisation and extreme Equalisation to your track at the mixing stage. Be aware of things which can enhanced in mastering stage. These things can never be undone and hence the quality will suffer.*/
Essentials: 4 things important for mastering
1 Ear : Everything depends on the hearing power of engineer who is mastering it. Healthy ear, familiarities with client expectancy with advanced knowledge of what you are doing.
2.Room : Having a balanced room is very important. A good room will always contribute in your ability to hear things properly.
3 Equipment : Equipment you use will make huge difference in the final outcome. Software plugins only give you a starting point nad any professional mastering is always done using industry standard hardware.
4. Speed and efficiency : Be efficient in terms of time, client will want more from you in less time. Basically practice to an extent when you have familiarized all the functions of your gear.
Dragos work : Here is the mastered version for dragos piece.
Plugin Screen shot : If you look at this screen shot,it tells you the stages how sound has been processed. I have used 3 VU metres for analysing the change. First one suggests inequality in left-right channels,the second one shows the result of limiting- setting the threshold level so that the signal never peaks,equalisation and joemeck equaliser: equal balancing between both the channels,cutting down annoying frequencies,enhancing a little bit of bottom end and touching up with Joemeck.In the second slot which is a bus, I have used bombfactory , big bottom and then compression. The last VU meter suggests consistency in level,no peaks through out the track and the track being cleaner and healthier. If you analyse 1st and 3rd VU meters there is not much difference in terms of levels,but there is defintely difference in what we finally hear now. The trouble was any slight increase in gain would result in peaking,so I made sure the signal does not peak through out the track even though I could not get the levels go any higher than this.
References:
(1)Grice, David.2007."Tutorials on Audio Arts (3) Semester 1, Week 12.Mastering(1)." Lecture presented at the Electronic Music Unit, University of Adelaide, South Australia, 29/05/2007.
(2) Readings on My Uni.Music Technology(3)2007.
(3)Waves Mastering Help
http://www.waves.com/objects/pdf/general/Update-and-Errata-web.pdf
viewed 29May'07
Forum : Whats happening next semester : Improvisations group with a defined appraoch
I must say the idea of student presentations in the forum was a waste of time for me.I think students should be given these oppurtunites in their respective classes.Building their confidence is one thing and punishing other people through this process is another.
Listening Examples :
2.Raga Sihendra madhyam by Dr, C Sardeshmuh
3. Terry Reli and Johny cale (velvet underground) : Improvisations ; church of Anthrax
4.Machine for making senses : Jim Denley, Rok Rue,chris Mann, Stevie Wishart and Amanda Phillips
5. Ross Bolleter : Crow country
6. Sun Ra and this Astro Intergalatic Infinity Arkestra : space is the place
7. Ryoanji - - cage 1985
8. Mr Ban'gal
Comprovisation :
"Free urself from the idea of self disciplane to improvise" : an idea of Sun Ra: contradictory, but u know what it means..
Scratch Orchestra : School time compositions
References :
(1) Whittington.Stephen.Forum. Semester 1, Week 12. Workshop presented at the Electronic Music Unit, University of Adelaide, South Australia, 31/05/2007.
Friday, June 01, 2007
A shoulder
I have to write this,last day of week 12. Few more lectures next week but otherwise its all over.. Friday started with me thinking there is no computer science lecure,but there was.For some reason in the back of my mind,I thought its tuesday even though I knew I have classical theory lecture which happpens every friday.Weird..!
Another great lesson with stephen on rhythmic ideas of Steve Reich - Phasing effect,metric modulations and more.. He asked me to clap with him :
Both of us playing in 3,
then he moves to 4 and
then subsequently I have to move in 4 as well.
Me and stephen were not on the same page.First time I changed too quickly and the next time I thought let the rhythm settle a bit and waited too long..So obviously I get zero. Stephen, it was a pleasure doing it with you,only if it would have happened the way you wanted.A very interesting idea and you explained it very clearly .Its also interesting how he points out things I have been practising in the past.
Ok,I check my email now, this time peter has sent me a warning about using studios as studios and not as my private study space.I do have used the space for that,most of the times when no one is there,but sometimes booking it so that I can do some work,an hour before forum and then an hour after that,cause I see christian pretty much every thursday.I totally understand peter,I know you are only doing your work. It did not upset me at all. I knew I was wrong..
Ok,Now the disaster, I check my email again and chris writes to me saying Craig and John Aue cant come on sunday for the recording.My Audio Arts major project and its falling apart. lets see what happens then.Its all improvised music , I have to wait and see whats actually going to happen on sunday,uncertainity at its peak, which happens to me all the time. Even when I am travelling.No wonder why I have missed my flights as well.I was lucky enough to catch my flight from malaysia to Adelaide.The flight was closed,some beautiful women helped me and logged me in..just survived..
Ok, the last disaster, My computer science prac exam and I didnt pass.There was some error in my code and I couldnt find it."Exception in the main thread" while running the main patch,even though the main and the driver class compiled.. I felt so down after that I decided to have crappy McDonalds meal.
Came to EMU kitchen , shared my pain with ben and now I am off for some practise.. I am ok now,have to work very hard to do allright in Comp Sci-fi..
I dont think I am going home, will sleep in the studio,at some stage.
Another great lesson with stephen on rhythmic ideas of Steve Reich - Phasing effect,metric modulations and more.. He asked me to clap with him :
Both of us playing in 3,then he moves to 4 and
then subsequently I have to move in 4 as well.
Me and stephen were not on the same page.First time I changed too quickly and the next time I thought let the rhythm settle a bit and waited too long..So obviously I get zero. Stephen, it was a pleasure doing it with you,only if it would have happened the way you wanted.A very interesting idea and you explained it very clearly .Its also interesting how he points out things I have been practising in the past.
Ok,I check my email now, this time peter has sent me a warning about using studios as studios and not as my private study space.I do have used the space for that,most of the times when no one is there,but sometimes booking it so that I can do some work,an hour before forum and then an hour after that,cause I see christian pretty much every thursday.I totally understand peter,I know you are only doing your work. It did not upset me at all. I knew I was wrong..
Ok,Now the disaster, I check my email again and chris writes to me saying Craig and John Aue cant come on sunday for the recording.My Audio Arts major project and its falling apart. lets see what happens then.Its all improvised music , I have to wait and see whats actually going to happen on sunday,uncertainity at its peak, which happens to me all the time. Even when I am travelling.No wonder why I have missed my flights as well.I was lucky enough to catch my flight from malaysia to Adelaide.The flight was closed,some beautiful women helped me and logged me in..just survived..
Ok, the last disaster, My computer science prac exam and I didnt pass.There was some error in my code and I couldnt find it."Exception in the main thread" while running the main patch,even though the main and the driver class compiled.. I felt so down after that I decided to have crappy McDonalds meal.Came to EMU kitchen , shared my pain with ben and now I am off for some practise.. I am ok now,have to work very hard to do allright in Comp Sci-fi..
I dont think I am going home, will sleep in the studio,at some stage.
Sunday, May 27, 2007
WEEK 11
Creative Computing: Computer Music Programming : Streams (1)
CODE @ Exercise :
(1) A synthDef
(2) A stream playback mechanism that controls different parameters of the synthDef and demonstrates concepts presented in "Streams-Patterns-Events1 - 3.html"
(3) Thoughts and issues on the process with an MP3 result.
This code will crash your computer.I can make it not crash but it still does not sound what I want it to sound..So I have choosen to post the code which will crash the computer.
I still need to understand Streams,patterns and events alot better.I have actually spent more time making the synthDef .
I can see where the things are heading,SuperCollider why didn't you come in my life earlier.. I guess I have the whole life to keep working on it. Thanks christian.
References :
1)Haines, Christian."Creative computing : Semester 1, Week 11. "Streams,Events &Patterns". Lecture presented at the Electronic Music Unit, University of Adelaide, South Australia, 24/05/2007.
(2)McCartney , James et al 2007,SuperCollider Inbuilt Help.
(3)Source Forge,http://supercollider.sourceforge.net/
(4) SuperCollider Help Book
======================
Audio Arts :Mastering (1)
Mastering is the process of finalizing a recording and preparing it for the final medium on which it will be played back ensuring optimum clarity,balance and consistent levels across the entire recording.In the workshop we looked at the website of Eden Sound Mastering - Australia's first Focusrite Authorised Blue Mastering Suite in melbourne.
How mastering came into existence ?
There were left over inaudible high frequencies on the CD recordings which would give you a headache if exposed over long durations.They are non existent in vinyl's.Hence came mastering.
EQ in mastering is often used to tuck away annoying frequencies and to enhance the frequencies that make the recording special.Through the use of EQ you can shape the final curve of the song so that it has the right amount of bass, midrange and treble. Applying correct amout of compression and limiter with "just the right" amount of attack and release will make the track really special.Remember the settings will vary for each song and style of music.Some songs might just need that subtleness and love whereas another one will need that big size and excitement. It just depends on the genre/style of music/song.
Through the use of “Limiting” in mastering you can put a clamp on the entire mix so that it doesn’t move above a given threshold.This will insure the loudest mix do not goes above the given limit.Another useful point in this weeks readings was use of VU meter as a plugin.It ensures that you are not compressing too hard and helps you in making right decisions with the settings.
I will talk about compression techniques in the next week.There is certainly alot more to compression at mastering stage than just boosting everthing.
Master Mix : Here is a (rough) master of the the group 3F+1M
Previous Mix : Here is the older mix
First Mix : Here is the first mix
I took the final mix in to a new protools session,named it mastering sesssion and applied(from the order of top to bottom)
* 7 band EQ = balancing the frequency ranges which sounded nice to me, a little more gain on the lower range(80Hertz), boosting the mid range for more clarity in vocals. I have cut down 75% gain to the high range(above 12 Kilo Hertz).
* minimax = this was giving a bit of depth in the bottom end.
* limiter = setting the threshold level, i made sure the loudest signal does not peak.
* Compression -I still need to understand more on compression.Whats the right amount of attack and release, whats the relationship with other paramerters,how does the relationship along with other parametres change the sound ? I am confused in terms of completely understnding it,however I played with the knobs and did what sounded good.
*Mc2000Mc4 - I just played with the knobs,I could hear the change it did to the mix. Did I wanted that change ? I am not sure,I have used it very carefully, by just increasing a bit if its output.
Something from this line added noise into the mix.I think its compression or Mc2000Mc4.It was really audible at silent spots.I have to work more on reducing the noise from the mix,otherwise I am sort of happy.
References:
(1)Grice, David.2007."Tutorials on Audio Arts (3) Semester 1, Week 1.Mastering(1)." Lecture presented at the Electronic Music Unit, University of Adelaide, South Australia, 22/05/2007.
(2) Readings on My Uni.Music Technology(3)2007.
(3)http://www.focusrite.com viewed 27May'07
(4)http://www.edensound.com.au viewed 27May'07
(5)Waves Mastering Help
http://www.waves.com/objects/pdf/general/Update-and-Errata-web.pdf
viewed 27May'07
====================
Forum :
====================
Memories of forum far apart now.My mind looked somewhat like this picture in those 2 hours. However I rememeber Delany's presentation. Very interesting talk,as much, as the sound examples he played,of people like LustMord, Brien Willaims , Aphix Twin and Robert Rich. Thanks for burning me a Dvd full of Ambient music John, I have not forgotten about burning you some Trilok..
Genre : dArk ambient music
Form : long form timbral variation
characterstic : visual music
John said " feels like I am in a dark forest long from anywhere"..
Stephen said "Continous low level tension without any release"
References:
Whittington.Stephen . “Construction and Deconstruction.” Forum/Workshop presented at EMU space, Level 5 Schulz, Thursday 24' May' 2007.
Delany.John . “Construction and Deconstruction.” Student Presentations. EMU space, Level 5 Schulz building, Thursday 24' May' 2007.
Whitelock.Simon . “Construction and Deconstruction.” Student Presentations. EMU space, Level 5 Schulz building, Thursday 24' May' 2007.
Shea.Nathan . “Construction and Deconstruction.” Student Presentations. EMU space, Level 5 Schulz building, Thursday 24' May' 2007.
CODE @ Exercise :
(1) A synthDef
(2) A stream playback mechanism that controls different parameters of the synthDef and demonstrates concepts presented in "Streams-Patterns-Events1 - 3.html"
(3) Thoughts and issues on the process with an MP3 result.
This code will crash your computer.I can make it not crash but it still does not sound what I want it to sound..So I have choosen to post the code which will crash the computer.
I still need to understand Streams,patterns and events alot better.I have actually spent more time making the synthDef .
I can see where the things are heading,SuperCollider why didn't you come in my life earlier.. I guess I have the whole life to keep working on it. Thanks christian.
References :
1)Haines, Christian."Creative computing : Semester 1, Week 11. "Streams,Events &Patterns". Lecture presented at the Electronic Music Unit, University of Adelaide, South Australia, 24/05/2007.
(2)McCartney , James et al 2007,SuperCollider Inbuilt Help.
(3)Source Forge,http://supercollider.sourceforge.net/
(4) SuperCollider Help Book
======================
Audio Arts :Mastering (1)
Mastering is the process of finalizing a recording and preparing it for the final medium on which it will be played back ensuring optimum clarity,balance and consistent levels across the entire recording.In the workshop we looked at the website of Eden Sound Mastering - Australia's first Focusrite Authorised Blue Mastering Suite in melbourne.
How mastering came into existence ?
There were left over inaudible high frequencies on the CD recordings which would give you a headache if exposed over long durations.They are non existent in vinyl's.Hence came mastering.
EQ in mastering is often used to tuck away annoying frequencies and to enhance the frequencies that make the recording special.Through the use of EQ you can shape the final curve of the song so that it has the right amount of bass, midrange and treble. Applying correct amout of compression and limiter with "just the right" amount of attack and release will make the track really special.Remember the settings will vary for each song and style of music.Some songs might just need that subtleness and love whereas another one will need that big size and excitement. It just depends on the genre/style of music/song.
Through the use of “Limiting” in mastering you can put a clamp on the entire mix so that it doesn’t move above a given threshold.This will insure the loudest mix do not goes above the given limit.Another useful point in this weeks readings was use of VU meter as a plugin.It ensures that you are not compressing too hard and helps you in making right decisions with the settings.
I will talk about compression techniques in the next week.There is certainly alot more to compression at mastering stage than just boosting everthing.
Master Mix : Here is a (rough) master of the the group 3F+1M
Previous Mix : Here is the older mix
First Mix : Here is the first mix
I took the final mix in to a new protools session,named it mastering sesssion and applied(from the order of top to bottom)
* 7 band EQ = balancing the frequency ranges which sounded nice to me, a little more gain on the lower range(80Hertz), boosting the mid range for more clarity in vocals. I have cut down 75% gain to the high range(above 12 Kilo Hertz).
* minimax = this was giving a bit of depth in the bottom end.
* limiter = setting the threshold level, i made sure the loudest signal does not peak.
* Compression -I still need to understand more on compression.Whats the right amount of attack and release, whats the relationship with other paramerters,how does the relationship along with other parametres change the sound ? I am confused in terms of completely understnding it,however I played with the knobs and did what sounded good.
*Mc2000Mc4 - I just played with the knobs,I could hear the change it did to the mix. Did I wanted that change ? I am not sure,I have used it very carefully, by just increasing a bit if its output.
Something from this line added noise into the mix.I think its compression or Mc2000Mc4.It was really audible at silent spots.I have to work more on reducing the noise from the mix,otherwise I am sort of happy.
References:
(1)Grice, David.2007."Tutorials on Audio Arts (3) Semester 1, Week 1.Mastering(1)." Lecture presented at the Electronic Music Unit, University of Adelaide, South Australia, 22/05/2007.
(2) Readings on My Uni.Music Technology(3)2007.
(3)http://www.focusrite.com viewed 27May'07
(4)http://www.edensound.com.au viewed 27May'07
(5)Waves Mastering Help
http://www.waves.com/objects/pdf/general/Update-and-Errata-web.pdf
viewed 27May'07
====================
Forum :
====================
Memories of forum far apart now.My mind looked somewhat like this picture in those 2 hours. However I rememeber Delany's presentation. Very interesting talk,as much, as the sound examples he played,of people like LustMord, Brien Willaims , Aphix Twin and Robert Rich. Thanks for burning me a Dvd full of Ambient music John, I have not forgotten about burning you some Trilok..
Genre : dArk ambient music
Form : long form timbral variation
characterstic : visual music
John said " feels like I am in a dark forest long from anywhere"..
Stephen said "Continous low level tension without any release"
References:
Whittington.Stephen . “Construction and Deconstruction.” Forum/Workshop presented at EMU space, Level 5 Schulz, Thursday 24' May' 2007.
Delany.John . “Construction and Deconstruction.” Student Presentations. EMU space, Level 5 Schulz building, Thursday 24' May' 2007.
Whitelock.Simon . “Construction and Deconstruction.” Student Presentations. EMU space, Level 5 Schulz building, Thursday 24' May' 2007.
Shea.Nathan . “Construction and Deconstruction.” Student Presentations. EMU space, Level 5 Schulz building, Thursday 24' May' 2007.
Sunday, May 20, 2007
Week 10
Creative Computing: Duplication
It is a method for duplicating the signal which gets sent to the next bus, hence acheiving a stereo signal from a mono channel.
Out.ar(bus: 0,channelsArray: signal.dup == signal sent to bus[0,1]
Some very interesting points were covered in the class really to do with using arrays to generate massive amount of data with very simple code.
Array.series( range,start, increment)
Array.series(10,1,1) * $1(any variable),
Multiplying by 2 - gives even harmonics ,
multiplying by 3 will give 3rd harmonics,
multiplying by 5 will give 5th harmonics and so on..
multiplying by 44oHertz will give octaves of A
Array.geom(5,1,3) == geometric harmonic
Array.geom(10,1,3) %5 == weirdo using modulo
Array.fill(3,"hello world") == 3 * string name
CODE : "Exercise" :Creation of a large synthesiser assembly using the concept of duplication.
(1) MIDI Input and playback
(2) A synthesiser definition incorporating carriers, modulators and modifiers created using large scale duplication
(3)An effects synthDef
(4) The synthDefs will be organised so the main synthesizer definition will have its output routed through an effects synthDef.
Mp3 result
References :
1)Haines, Christian."Creative computing : Semester 1, Week 10. "Duplication". Lecture presented at the Electronic Music Unit, University of Adelaide, South Australia, 17/05/2007.
(2)McCartney , James et al 2007,SuperCollider Inbuilt Help.
(3)Source Forge,http://supercollider.sourceforge.net/
(4) SuperCollider Help Book
Audio Arts : Creative Production (2)
The whole hour was dedicated looking at AD2022 - Avalon's fourth generation fully discrete,symmetrical Pure class A microphone preamplifier.
I tried couple of things to try this long awaited piece of hardware.My initial experiment failed cause everything I tried resulted in feedback.I was trying to take the audio out from protools into Avalon and then record the mix back into protools.Taking the Auxillary out from the C24 to Avalon and recording that in protools didnt work either.How can I send the master to Protools 3&4 out as well, so that I can take those outs and send it through Avalon ??
Well I was not muting the 2 new tracks that were assigned to record the mix.The signal which was played back was recorded as well and played back too while recording.. Hence feedback ..
I simplified the things and used my computer to play back the mix and recorded that onto protools using Avalon's front panel unbalanced inputs.
Mix of 3F+1m : Here is the mix of the group I recorded.
I have used Avalon to record the vocals and then I sent the whole mix through Avalon.The mix you are hearing is [(MixNoVoicewithout Avalon + Voice) + Mixwith AvalonVoice + Voice].bounce;
For comparison,hear the old ones.
No Voice : Older mix with no voice without Avalon
With Voice : Older Mix with voice without Avalon
References:
(1)Grice, David.2007."Tutorials on Audio Arts (3) Semester 1, Week 10.Creative Production(2)." Lecture presented at the Electronic Music Unit, University of Adelaide, South Australia, 15/05/2007.
(2) Readings on My Uni.Music Technology(3)2007.
Forum :
Words replacing colors.Whats the term when you start seeing words as colors, alphabets become pixels and sentences form shapes ? I am suffering from that.
In this life let me hear sounds and see words.
*(all I want to say for this weeks forum)
Reference:
Whittington.Stephen. “Forum – Week 10 – Construction and Deconstruction." Workshop presented at EMU space, lvl 5 Schulz building, University of Adelaide, 17th May, 2007.
Fredrick May. "Forum – Week 10 – Construction and Deconstruction." Student Presentations. EMU space, Level 5 Schulz building, University of Adelaide, 17th May, 2007.
Dragos Nastasie. “Forum – Week 10 – Construction and Deconstruction." Student Presentations. EMU space, Level 5 Schulz building, University of Adelaide, 17th May, 2007.
Matt Mazzone. “Forum – Week 10 – Construction and Deconstruction." Student Presentations. EMU space, Level 5 Schulz building, University of Adelaide, 17th May, 2007.
It is a method for duplicating the signal which gets sent to the next bus, hence acheiving a stereo signal from a mono channel.
Out.ar(bus: 0,channelsArray: signal.dup == signal sent to bus[0,1]
Some very interesting points were covered in the class really to do with using arrays to generate massive amount of data with very simple code.
Array.series( range,start, increment)
Array.series(10,1,1) * $1(any variable),
Multiplying by 2 - gives even harmonics ,
multiplying by 3 will give 3rd harmonics,
multiplying by 5 will give 5th harmonics and so on..
multiplying by 44oHertz will give octaves of A
Array.geom(5,1,3) == geometric harmonic
Array.geom(10,1,3) %5 == weirdo using modulo
Array.fill(3,"hello world") == 3 * string name
CODE : "Exercise" :Creation of a large synthesiser assembly using the concept of duplication.
(1) MIDI Input and playback
(2) A synthesiser definition incorporating carriers, modulators and modifiers created using large scale duplication
(3)An effects synthDef
(4) The synthDefs will be organised so the main synthesizer definition will have its output routed through an effects synthDef.
Mp3 result
References :
1)Haines, Christian."Creative computing : Semester 1, Week 10. "Duplication". Lecture presented at the Electronic Music Unit, University of Adelaide, South Australia, 17/05/2007.
(2)McCartney , James et al 2007,SuperCollider Inbuilt Help.
(3)Source Forge,http://supercollider.sourceforge.net/
(4) SuperCollider Help Book
Audio Arts : Creative Production (2)
The whole hour was dedicated looking at AD2022 - Avalon's fourth generation fully discrete,symmetrical Pure class A microphone preamplifier.
I tried couple of things to try this long awaited piece of hardware.My initial experiment failed cause everything I tried resulted in feedback.I was trying to take the audio out from protools into Avalon and then record the mix back into protools.Taking the Auxillary out from the C24 to Avalon and recording that in protools didnt work either.How can I send the master to Protools 3&4 out as well, so that I can take those outs and send it through Avalon ??
Well I was not muting the 2 new tracks that were assigned to record the mix.The signal which was played back was recorded as well and played back too while recording.. Hence feedback ..
I simplified the things and used my computer to play back the mix and recorded that onto protools using Avalon's front panel unbalanced inputs.
Mix of 3F+1m : Here is the mix of the group I recorded.
I have used Avalon to record the vocals and then I sent the whole mix through Avalon.The mix you are hearing is [(MixNoVoicewithout Avalon + Voice) + Mixwith AvalonVoice + Voice].bounce;
For comparison,hear the old ones.
No Voice : Older mix with no voice without Avalon
With Voice : Older Mix with voice without Avalon
References:
(1)Grice, David.2007."Tutorials on Audio Arts (3) Semester 1, Week 10.Creative Production(2)." Lecture presented at the Electronic Music Unit, University of Adelaide, South Australia, 15/05/2007.
(2) Readings on My Uni.Music Technology(3)2007.
Forum :
Words replacing colors.Whats the term when you start seeing words as colors, alphabets become pixels and sentences form shapes ? I am suffering from that.In this life let me hear sounds and see words.
*(all I want to say for this weeks forum)
Reference:
Whittington.Stephen. “Forum – Week 10 – Construction and Deconstruction." Workshop presented at EMU space, lvl 5 Schulz building, University of Adelaide, 17th May, 2007.
Fredrick May. "Forum – Week 10 – Construction and Deconstruction." Student Presentations. EMU space, Level 5 Schulz building, University of Adelaide, 17th May, 2007.
Dragos Nastasie. “Forum – Week 10 – Construction and Deconstruction." Student Presentations. EMU space, Level 5 Schulz building, University of Adelaide, 17th May, 2007.
Matt Mazzone. “Forum – Week 10 – Construction and Deconstruction." Student Presentations. EMU space, Level 5 Schulz building, University of Adelaide, 17th May, 2007.
Sunday, May 13, 2007
WEEK 9
Creative Computing :Busses, Routing and Ordering
The client side representation of an audio or control bus on a server.Manages allocation and deallocation of bus indices.[ read more about busses and routing]
code : This code is incomplete and has got some errors.. I will update it very soon.
Audio Arts: Creative Production (2)
We were supposed to look at AutoTune, a pitch correcting plug-in by Anatares.Unfortunately we don’t have that in the studios,a million-dollar studio without necessary plugins. I am disappointed with myself too that why don’t I own them. I guess I was always working in the uni and confessing that I have spent the money on other things. But now its the right time to get one, I am still double minded about Mbox Pro or Digi 002, which is only $400 more right now.
Auto-Tune works in two modes:
* The Automatic Mode corrects the pitch of a vocal or solo instrument in real time, without distortion or artifacts, while preserving all the expression of the original performance.
* The Graphical Mode displays the performance's detected pitch envelope and allows you to draw in the desired pitch using a variety of graphics tools.
Important notes and features:
Auto-Tune does not like double notes or a chord - it only works when sustained a single note.
"A side-effect of using very fast pitch correction is that shallow vibrato is ironed out altogether, while deeper vibrato turns into a trill.
Auto-Tune also has the ability to add delayed vibrato to whatever sound is being
processed, so in theory, you can strip out the vibrato from the original performance and replace it with something far more mechanical and precise".
One function of the hardware version of Auto-Tune is its ability to shift
pitch according to a MIDI input. In theory, this means you can input a MIDI melody and whatever audio input you have fill be forced to fit that melody.
Things to try: It has the ability to make the human voice sing impossible arpeggios or in that case any instrument. How about taking a single-note instrument like the tanpura or didgeridoo and changing its sound to a melodic bass line?
Every thing comes to the conclusion of being as creative you want to be, with just a little precaution.
Task of the week :
Mix of the group (3F+1M : NO VOCALS [Feli.Ban.Georgi] ;
Mix of the group 3F+1M): WITH VOCALS [Bel.Feli.Ban.Georgi].scope
I am hoping to record the vocals seperately in the coming week.There is a lot of spill from the other instruments in the vocal microphone,since it was recorded live in the EMU space along with other cats.As you can hear the mix with vocals sounds quite reverby from the one without vocals and i can hear the room especially when the loud snare hits..I have asked belinda to come and do the vocals seperately over the recording.
I think, bass needs just a little cut off from the bottom end or may be little level down will solve what i am hearing right now.I cant quite trust this room as well(studio 1). I might have a break and come back and listen to it.Why am i worring about the mix with vocals,few things are not under my control.
References:
(1)Grice, David.2007."Tutorials on Audio Arts (3) Semester 1, Week 9.Creative Production(2)." Lecture presented at the Electronic Music Unit, University of Adelaide, South Australia, 08/05/2007.
(2) Readings on My Uni.Music Technology(3)2007.
(3)
viewed on 13 May'07
Forum :
Saturday, May 05, 2007
Week 8
Creative Computing : Buffers
Buffers : Sample, automation, location - a way of storing data, address or a value
Buffering represents the creation of temporary memory space for the purposes of storing information such as data arrays, envelopes, windows and samples - whether for recording or playback. [click here to read more about buffers]
Code : This code is incomplete, I am working on it and will update it very soon
References :
1)Haines, Christian."Creative computing : Semester 1, Week 8. "Buffers". Lecture presented at the Electronic Music Unit, University of Adelaide, South Australia, 03/05/2007.
(2)McCartney , James et al 2007,SuperCollider Inbuilt Help.
(3)Source Forge,http://supercollider.sourceforge.net/
(4) SuperCollider Help Book
Audio Arts:
Gating Techniques:A gate mutes a signal whenever its level falls below a
threshold level.During the periods of very low signal or non playing time of a
particlar track in the session, its shuts down,preventing noise or spill in the
track.Most gates have the facility to make the opening and closing of the gate
more gradual.Attack time and release time specifies how quickly the gate opens
and shut..
Buffers : Sample, automation, location - a way of storing data, address or a value
Buffering represents the creation of temporary memory space for the purposes of storing information such as data arrays, envelopes, windows and samples - whether for recording or playback. [click here to read more about buffers]
Code : This code is incomplete, I am working on it and will update it very soon
References :
1)Haines, Christian."Creative computing : Semester 1, Week 8. "Buffers". Lecture presented at the Electronic Music Unit, University of Adelaide, South Australia, 03/05/2007.
(2)McCartney , James et al 2007,SuperCollider Inbuilt Help.
(3)Source Forge,http://supercollider.sourceforge.net/
(4) SuperCollider Help Book
Audio Arts:
Gating Techniques:A gate mutes a signal whenever its level falls below a
threshold level.During the periods of very low signal or non playing time of a
particlar track in the session, its shuts down,preventing noise or spill in the
track.Most gates have the facility to make the opening and closing of the gate
more gradual.Attack time and release time specifies how quickly the gate opens
and shut..
Friday, April 27, 2007
WEEK 7
Creative Computing : Synthesisers and Definations(2)
Code : My code had got some serious errors.. I am working on it..Will update it very soon..
Understanding the arguments in Sine wave Oscillator
Code : My code had got some serious errors.. I am working on it..Will update it very soon..
Understanding the arguments in Sine wave Oscillator
SinOsc.ar(freq, phase, mul, add)
freq = The frequency of the oscillator. The default is 440hertz.
phase = the offset time position where the wave hits a zero crossing. The default is 0,which means the wave starts immediately
mul (multiplication) = think of this argument as the Amplitude or Volume of the wave. The default is 1.The scale or range of the interpolation (whether the wave goes from -0.5 to +0.5, or -30 to +30)
add = The frequency position from which the wave oscillates. (used mainly for Control Rate oscillation).
"It is useful when you require the oscillator to interpolate between specific values. The default add value is zero, because an audio rate oscillation moves from -1 to +1. By changing the add value to 5,the wave would oscillate between 4 and 6 if the 'mul' value remained the default of 1".
References:
1)Haines, Christian."Creative computing : Semester 1, Week 7. Synthesisers and Definitions(2)." Lecture presented at the Electronic Music Unit, University of Adelaide, South Australia, 26/04/2007.
(2)McCartney , James et al 2007,SuperCollider Inbuilt Help.
(3)Source Forge,http://supercollider.sourceforge.net/
(4) SuperCollider Help Book
(5)http://www.psi-o.net/pseudonym visited on 1 May'07
Audio Arts :
First lesson after the break and I was 10mins late, sorry david I missed my tram cause it came a minute early(very annoying).When i reached , all the microphone placements had been done.We were recording one of the ensembles from the jazz department.I learned how to communicate from the recording space into the studio when there is no listening microphone and talk back facility.The rule is to be very informative through hand movements.However I suggest you setup the talk back facility in order to be absolutely explicit,restricting any possible frustration.I also suggest to get absolutely familiar with newer version of protools.Visit this link for an overview of updates for protools LE 7.3.x
Due to the time strains with studio bookings, my timings, band members availability I could not record another ensemble.However I am using the same recording and here is a rough mix of 'Perdido"by Monk played by "The Quintet of j0hn n j0sh"
=================================
Forum : Gender in Music Technology
==============================
I hate the words "male domain" or "feminism" which was repeated several times in that 1+ hour..Personally I hate dividing people into categories,now if that is culture , language , country or SEX, it does not matter.We all are one,children of one and the continuation of one.
One of the stratagies of few ruthless people is to 'divide and conquer', a big reason why India was ruled by the same people.I really dont like to write for people to read, cause I dont like to hurt anyone, anyway now I am doing it .
Look at this cable , its a male-male s-video cable..Look at it nicely, what does it say to you..?
Stephen started the forum with his thoughts about how big the issue is in the industry.on the topic..Besides the other things interesting things he said,something which striked me was to know a little more about John Cage .It obviously did not effect what I think about him and his music.I personally can not relate to the emotions of gay men.I think they play with the rules of nature.The science says two similar magnetic poles repel each other and opposites attract. Dont know why are two similar poles trying to charge one another.
Now consider the input - output theory.What will happen if you plug output of protools into output of your amp. You will only hear the world around you.Max/Msp does not even let you do that.It wont give you the option of plugging In in In or out to out.In SuperCollider you can but what will be the result,either No sound or feedback.
But YOu do get gay cablesnow ,like this one.
Why are there less women in the field of (M) Technology.It may vary from one country to another.The way they pursue things,restrictions on women and things which women like to do.For instance I see alot of women from china (and alike) in my Computer Science lecture than from any other country. One of my mates from banglore in India has complained me about not having (p?) women in his IT profession.Shine your light F e m a l eFs on "musIc tEch",what you doing ??
Todays Presenters:
Ben, I am sure you will qualify for a white collar job ,I can see u as a good communicative teacher...With a laptop in front I felt like a man..I really enjoyed it..
Amy convinced me that she loves Music Technology and thats why she is doing it.If she would have said it one less time, I would not have believed her..
Thanks for the videos jake. Message to all the women out there from Jake Morris - "listen to bjork and get inspired".
Why are the best chefs men ?? reply your answers to Douglas Loudon (I know some worst chefs in this planet and they are men.)
I can see its a new area and women are taking there time to get into it. Regardless there are some brilliant composers and performers who are women.
One of the figures in EMU is Poppi.Replacing her presence in the forum was a tiny robotic eLecTro feMale,may be her slave,sonically capturring the whole event..Not just her, Sonia wilkie, Jasmin ward and Silver Moon are more examples of women at EMU, with Amy and Laura starting their carrier.Another inspiring figure is Fleur Green, a great percussionist and a good friend of mine.Her recent collaborations with a theatre company compelled her to buy a laptop & ProTools and compose music for kids theatre.I am not sure how far as she gone, I guess she spends more time practising marimba and other percussions.She will, I am tempting her.
It's quite interesting how individual conditions effect.A lot may depend on the up bringing of a child. Why do girls in their childhood like to play with dolls and boys with cars, for instance.. Or is it just what they are given in their hands ...! They definately get attracted to things which appeal them. Any men out there, attracted to dolls when they were small or now.. ?? get back to me please.. cause I am too,, living dolls..
Is it actually gay for a men to wear pink t shirt, dont know, may be light pink with a white rose..!
Why am i discussing this, because I have been to Mars bar twice..Liz told me its quite a liberal place and plays different music.. Both the times with Bianka and the couple [Darren = Brad].
==============================
I hate the words "male domain" or "feminism" which was repeated several times in that 1+ hour..Personally I hate dividing people into categories,now if that is culture , language , country or SEX, it does not matter.We all are one,children of one and the continuation of one.
One of the stratagies of few ruthless people is to 'divide and conquer', a big reason why India was ruled by the same people.I really dont like to write for people to read, cause I dont like to hurt anyone, anyway now I am doing it .
Look at this cable , its a male-male s-video cable..Look at it nicely, what does it say to you..?
Stephen started the forum with his thoughts about how big the issue is in the industry.on the topic..Besides the other things interesting things he said,something which striked me was to know a little more about John Cage .It obviously did not effect what I think about him and his music.I personally can not relate to the emotions of gay men.I think they play with the rules of nature.The science says two similar magnetic poles repel each other and opposites attract. Dont know why are two similar poles trying to charge one another.Now consider the input - output theory.What will happen if you plug output of protools into output of your amp. You will only hear the world around you.Max/Msp does not even let you do that.It wont give you the option of plugging In in In or out to out.In SuperCollider you can but what will be the result,either No sound or feedback.
But YOu do get gay cablesnow ,like this one.
Why are there less women in the field of (M) Technology.It may vary from one country to another.The way they pursue things,restrictions on women and things which women like to do.For instance I see alot of women from china (and alike) in my Computer Science lecture than from any other country. One of my mates from banglore in India has complained me about not having (p?) women in his IT profession.Shine your light F e m a l eFs on "musIc tEch",what you doing ??
Todays Presenters:
Ben, I am sure you will qualify for a white collar job ,I can see u as a good communicative teacher...With a laptop in front I felt like a man..I really enjoyed it..
Amy convinced me that she loves Music Technology and thats why she is doing it.If she would have said it one less time, I would not have believed her..
Thanks for the videos jake. Message to all the women out there from Jake Morris - "listen to bjork and get inspired".
Why are the best chefs men ?? reply your answers to Douglas Loudon (I know some worst chefs in this planet and they are men.)
I can see its a new area and women are taking there time to get into it. Regardless there are some brilliant composers and performers who are women.
One of the figures in EMU is Poppi.Replacing her presence in the forum was a tiny robotic eLecTro feMale,may be her slave,sonically capturring the whole event..Not just her, Sonia wilkie, Jasmin ward and Silver Moon are more examples of women at EMU, with Amy and Laura starting their carrier.Another inspiring figure is Fleur Green, a great percussionist and a good friend of mine.Her recent collaborations with a theatre company compelled her to buy a laptop & ProTools and compose music for kids theatre.I am not sure how far as she gone, I guess she spends more time practising marimba and other percussions.She will, I am tempting her.
It's quite interesting how individual conditions effect.A lot may depend on the up bringing of a child. Why do girls in their childhood like to play with dolls and boys with cars, for instance.. Or is it just what they are given in their hands ...! They definately get attracted to things which appeal them. Any men out there, attracted to dolls when they were small or now.. ?? get back to me please.. cause I am too,, living dolls..
Is it actually gay for a men to wear pink t shirt, dont know, may be light pink with a white rose..!
Why am i discussing this, because I have been to Mars bar twice..Liz told me its quite a liberal place and plays different music.. Both the times with Bianka and the couple [Darren = Brad].
References:
Whittington.Stephen . “Gender in Music Technology, Can you tell the difference?” Forum /Workshop presented at EMU space, Level 5, Schulz building, University of Adelaide, 26th April, 2007.
Ben Probert. “Gender in Music Technology.” Student Presentations. EMU space, Level 5, Schulz building, University of Adelaide, 26th April, 2007.
Douglas Loudon. “Gender in Music Technology.” Student Presentations. EMU space, Level 5, Schulz building, University of Adelaide, 26th April, 2007.
Amy Sincock. “Gender in Music Technology.” Student Presentations. EMU space, Level 5, Schultz building, University of Adelaide, 26th April, 2007.
Jacob Morris. “Gender in Music Technology.” Student Presentations. EMU space, Level 5, Schultz building, University of Adelaide, 26th April, 2007.
Sunday, April 15, 2007
WEEK 6
Creative Computing : Synthesisers and Definitions (1)
SynthDef's = Synth Defination : Templates or blue prints that are usually used to describe the structure of a synthesiser, namely the component unit generators that are arranged into some form of synthesis device.
Code for SynthDefs examples
Transmission code
Receiving Code
References:
1)Haines, Christian."Creative computing : Semester 1, Week 6. Synthesisers and Definitions." Lecture presented at the Electronic Music Unit, University of Adelaide, South Australia, 5/04/2007.
(2)McCartney , James et al 2007,SuperCollider Inbuilt Help.
(3)Source Forge,http://supercollider.sourceforge.net/
(4) SuperCollider Help Book
SynthDef's = Synth Defination : Templates or blue prints that are usually used to describe the structure of a synthesiser, namely the component unit generators that are arranged into some form of synthesis device.
Code for SynthDefs examples
Transmission code
Receiving Code
References:
1)Haines, Christian."Creative computing : Semester 1, Week 6. Synthesisers and Definitions." Lecture presented at the Electronic Music Unit, University of Adelaide, South Australia, 5/04/2007.
(2)McCartney , James et al 2007,SuperCollider Inbuilt Help.
(3)Source Forge,http://supercollider.sourceforge.net/
(4) SuperCollider Help Book
Mondays at Exeter
"Seeing Orbo" - Live at the Exeter, every monday in April @ 8.57 pm till midnight..
{246 Rundle Street, Adelaide}
"Seeing Orbo" - {Acoustic fusion^world^folk^pop ,from the familiar to the exotic,songs of life,the d
ark and bright.The shadow and light of human experiences and existence..}
Declan Lorenzin- vocals,flutes & reeds
Max Lorenzin- vocals, guitar
Vinny Bhagat- world percussions
Kym Gluyas - saxophone
{246 Rundle Street, Adelaide}
"Seeing Orbo" - {Acoustic fusion^world^folk^pop ,from the familiar to the exotic,songs of life,the d
ark and bright.The shadow and light of human experiences and existence..}Declan Lorenzin- vocals,flutes & reeds
Max Lorenzin- vocals, guitar
Vinny Bhagat- world percussions
Kym Gluyas - saxophone
Monday, April 02, 2007
WEEK 5
Creative Computing : Week 5 - Unit Generators
Task : Create a synthesiser code patch that demonstrates your understanding of unit generators. The code patches will need to select a form of synthesis (such as FM, AM,Additive etc) and integrate the base components of a synthesiser including pitch,amplitude and modulators.
Click here to download the code.
References :
(1)Haines, Christian."Creative computing : Semester 1, Week 5. Unit Generators." Lecture presented at the Electronic Music Unit, University of Adelaide, South Australia, 29/03/2007.
(2)McCartney , James et al 2007,SuperCollider Inbuilt Help.
(3)Source Forge,http://supercollider.sourceforge.net/
(4) SuperCollider Help Book
--------------------------------------------------------------------------
Audio Arts : String Recording
String instruments represent a group of instruments whose sound is produced by a string vibrating in a resonant body, chamber or sound board. The physical structure and playing mechanisms vary significantly between violins, viola, cellos, guitars and pianos.The manner in which they are played varies and includes techniques like bowing, plucking, striking, scraping or a magnetic field.
One of the most important characteristics shared by all instruments in the string family is the wide range of tonal colours that different instruments are capable of producing. This is principally due to the individual qualities of the wood used in their construction, the details of their internal design and the skill and technique of the performer.
The best position for the microphone is far easier to understand than to know how the particular instrument works .However,in order to be highly succesful, learning the frequency spectrum of the instrument, where and how the sound is produced, how it radiates into the room will help you in making better decisions.
Recording Example : For my recording exercise I invited Ruth Saffir - Lecturer in Cello and Pedagogy at the Elder Conservatorium of Music and the President of the Dalcroze Society of South Australia.She is a cellist with many years' experience as a performer and teacher. Contact : (ruth.saffir@adelaide.edu.au)
I remember the first time I met Ruth was outside the Elder Office. My first day of uni and she took me to level 5 (EMU) and introduced me to christian. She was my Aural teacher last year , helping me train my ears. Thank you very much Ruth, for coming to the studio and helping me out.
Microphones Used :
Beta 52 : close miked to the f -hole , left of the player
AKG 414 : close miked to the f -hole , left of the player
Newman Kmi : little far as compared to AKG from the f -hole , right of the player.
U 87 : Room microphone, 3-4 metres infront of the player at ear level.
The most levels I have used in the mix is Beta 52 and U-89, whereas the other micophones are nearly half of their levels.It sounded too bright and detailed when close microphones were up.The scratch recording I initially did, ruth pointed out it be really "dry" but then room microphone levels were quite less and it was placed parallel to the instrument nearly 4-5 metres way.After changing its placement and giving it a little more gain , I tend to really like the warmness and space reverbrations.
References :
(1)Grice, David.2007.Tutorials on Audio Arts (3).27 March'07.University Of Adelaide.2007
(2) Readings on My Uni.Music Technology(3)2007.
(3)Robjohns, Hugh 1999, Strings Attached, Sound on Sound, viewed 2/4/ 2007,
http://www.soundonsound.com/sos/apr99/articles/recstrings.htm
Task : Create a synthesiser code patch that demonstrates your understanding of unit generators. The code patches will need to select a form of synthesis (such as FM, AM,Additive etc) and integrate the base components of a synthesiser including pitch,amplitude and modulators.
Click here to download the code.
References :
(1)Haines, Christian."Creative computing : Semester 1, Week 5. Unit Generators." Lecture presented at the Electronic Music Unit, University of Adelaide, South Australia, 29/03/2007.
(2)McCartney , James et al 2007,SuperCollider Inbuilt Help.
(3)Source Forge,http://supercollider.sourceforge.net/
(4) SuperCollider Help Book
--------------------------------------------------------------------------
Audio Arts : String Recording
String instruments represent a group of instruments whose sound is produced by a string vibrating in a resonant body, chamber or sound board. The physical structure and playing mechanisms vary significantly between violins, viola, cellos, guitars and pianos.The manner in which they are played varies and includes techniques like bowing, plucking, striking, scraping or a magnetic field.
One of the most important characteristics shared by all instruments in the string family is the wide range of tonal colours that different instruments are capable of producing. This is principally due to the individual qualities of the wood used in their construction, the details of their internal design and the skill and technique of the performer.
The best position for the microphone is far easier to understand than to know how the particular instrument works .However,in order to be highly succesful, learning the frequency spectrum of the instrument, where and how the sound is produced, how it radiates into the room will help you in making better decisions.
Recording Example : For my recording exercise I invited Ruth Saffir - Lecturer in Cello and Pedagogy at the Elder Conservatorium of Music and the President of the Dalcroze Society of South Australia.She is a cellist with many years' experience as a performer and teacher. Contact : (ruth.saffir@adelaide.edu.au)
I remember the first time I met Ruth was outside the Elder Office. My first day of uni and she took me to level 5 (EMU) and introduced me to christian. She was my Aural teacher last year , helping me train my ears. Thank you very much Ruth, for coming to the studio and helping me out.
Microphones Used :
Beta 52 : close miked to the f -hole , left of the playerAKG 414 : close miked to the f -hole , left of the player
Newman Kmi : little far as compared to AKG from the f -hole , right of the player.
U 87 : Room microphone, 3-4 metres infront of the player at ear level.
The most levels I have used in the mix is Beta 52 and U-89, whereas the other micophones are nearly half of their levels.It sounded too bright and detailed when close microphones were up.The scratch recording I initially did, ruth pointed out it be really "dry" but then room microphone levels were quite less and it was placed parallel to the instrument nearly 4-5 metres way.After changing its placement and giving it a little more gain , I tend to really like the warmness and space reverbrations.
References :
(1)Grice, David.2007.Tutorials on Audio Arts (3).27 March'07.University Of Adelaide.2007
(2) Readings on My Uni.Music Technology(3)2007.
(3)Robjohns, Hugh 1999, Strings Attached, Sound on Sound, viewed 2/4/ 2007,
Monday, March 26, 2007
WEEK 4
Audio Arts : Recording Wind Instruments : Wind instrument contains some type of resonator (usually a tube), in which a column of air is set into vibration by the player blowing into (or over) a mouthpiece set at the end of the resonator. The pitch of the vibration is determined by the length of the tube and by manual modifications of the effective length of the vibrating column of air.
Microphone placement depends very much on where most of the sound comes from. Learning the basic charaterstics and dynamic range of the instrument will help you in making your decisions about the choice of the microphone and its placement."Condensor microphones with a cardiod pattern will normally give you satisfactory results"(1).However, play with your creative ideas until it sounds what you want..
Lecture Notes : Kym arrives at EMU with his tenor and baratone..We started with learning the sweat spots of the room, a general idea of the instrument and different microphone placements .It is quite interesting how different microphones produced different timbre. Combination sounds of Sm 57,Beta 56, Beta 52, U-89 gave interesting results.
However for this recording I invited Imm Cielens
..(Click his name to listen to the recording)
Microphones Used:
Sm58 - pointing at the bell ,nearly 1 metre away,
AKG 414 - lower in height and pointing towards the bottom holes
Beat 52 - Along side AKG, pointing the holes
U-87 - Room microphone, infront of him, at his ear level
Trombone Recording : I invited Kara to the play for me..(Click her name to hear the recording.)
Microphone Used :
Sm 56 - pointing the bell, about 1.5 metres away at an off axis angle
AKG 414 - pointing the bell, about 1.5 metres away, quite straighter( main microphone)
Beta 52 - pointing the bell, about 1.5 metres away at an off axis angle
U-87 : Room Microphone , at her ear level from the back
References:
(1)Readings on My Uni.Music Technology(3)2007.
(2)Grice, David.2007.Tutorials on Audio Arts (3).20 March'07.University Of Adelaide.2007
Microphone placement depends very much on where most of the sound comes from. Learning the basic charaterstics and dynamic range of the instrument will help you in making your decisions about the choice of the microphone and its placement."Condensor microphones with a cardiod pattern will normally give you satisfactory results"(1).However, play with your creative ideas until it sounds what you want..
Lecture Notes : Kym arrives at EMU with his tenor and baratone..We started with learning the sweat spots of the room, a general idea of the instrument and different microphone placements .It is quite interesting how different microphones produced different timbre. Combination sounds of Sm 57,Beta 56, Beta 52, U-89 gave interesting results.
However for this recording I invited Imm Cielens
..(Click his name to listen to the recording)
Microphones Used:
Sm58 - pointing at the bell ,nearly 1 metre away,
AKG 414 - lower in height and pointing towards the bottom holes
Beat 52 - Along side AKG, pointing the holes
U-87 - Room microphone, infront of him, at his ear level
Trombone Recording : I invited Kara to the play for me..(Click her name to hear the recording.)
Microphone Used :
Sm 56 - pointing the bell, about 1.5 metres away at an off axis angle
AKG 414 - pointing the bell, about 1.5 metres away, quite straighter( main microphone)
Beta 52 - pointing the bell, about 1.5 metres away at an off axis angle
U-87 : Room Microphone , at her ear level from the back
References:
(1)Readings on My Uni.Music Technology(3)2007.
(2)Grice, David.2007.Tutorials on Audio Arts (3).20 March'07.University Of Adelaide.2007
Thursday, March 15, 2007
WEEK 3
Audio Arts : Percussion Recording
Examples : Click on the desription to hear the recording.
All sound recordings copyright Shivna Kaun @ 2007
Mallets ,
Hot Rods ,
Sticks(1) ,
Sticks(2) ,
Tabla
Getting a good sound from an acoustic dum kit has always been a challenge. I cant express how much a good sounding kit can contribute to a track.I believe one of the reasons for musicians using sequenced drum tracks is the lack of quality acheived from acoustic kit especially in a low budget or in home studios. Follow some of these measures and get most out of your beautiful drums.
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.The same applies to classical players or world musicians.
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.
Always follow the 2 finger rule I.e place the microphone nearly 2 fingers above the top skin.
Note : Always follow one standard order of patching the cables in the platchbay.Here is the orer that I like to follow
1- Kick , 2 - Snare Top, 3 - Snare bottom , 4 - High tom . 5 - MidTom . 6 - Low Tom , 7 - Hi Hats , 8 - Left Overheads . 9 - Right Overheads , 10 - Room Microphone.
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 is ideal choice, alternately you can use AKG's or Sen MD421 if thats not available.
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 bottom skin from the snares.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 Sm57, 58 , Sen 825
Toms: Having individual microphones for both your toms will give you more flexibility,again, apply 2 finger rule.
Or you can use(depending on the genre of music) 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.
Microphone choice : Beta 57A, I applied Beta 52 to the low tom for a more thicker sound.
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 NT5's capture the high ends really well.Also you can use U87/89; AKG C414
Room Microphone : Always have a room microphone placed at the sweet sounding spot in the room.This will capture the reverbrations and the fullness of the room.. For away from the kit,listen to the room and place it ,where it sounds best. Newmans U87/89 are usually the best room microphones.
Panning the Drums : Panning will help you in projecting the correct image of the kit.Imagine the kit from the perspective of the listner and pan it accordingly. Remember , its the other way round of how the player will perceive it. For e.g. Hi tom is panned to approx 80 % right and Low toom approx 70% left.Whereas your overheads are panned hard left and right.Imagine the placements of each drum and pan it,as it exists in the physical world.
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..!}
References :
(1)Grice, David.2007.Tutorials on Sound Engeneering (3).13 March'07.University Of Adelaide.
(2)Readings on My Uni.Music Technology(3)2007.
Creative Computing :
* Server Architecture,
* Open sound control ,
* Interconnected musical networks
Forum : David Harris and his orchestra : Quite a lot of fun actually ..
Examples : Click on the desription to hear the recording.
All sound recordings copyright Shivna Kaun @ 2007
Mallets ,
Hot Rods ,
Sticks(1) ,
Sticks(2) ,
Tabla
Getting a good sound from an acoustic dum kit has always been a challenge. I cant express how much a good sounding kit can contribute to a track.I believe one of the reasons for musicians using sequenced drum tracks is the lack of quality acheived from acoustic kit especially in a low budget or in home studios. Follow some of these measures and get most out of your beautiful drums.
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.The same applies to classical players or world musicians.
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.
Always follow the 2 finger rule I.e place the microphone nearly 2 fingers above the top skin.
Note : Always follow one standard order of patching the cables in the platchbay.Here is the orer that I like to follow
1- Kick , 2 - Snare Top, 3 - Snare bottom , 4 - High tom . 5 - MidTom . 6 - Low Tom , 7 - Hi Hats , 8 - Left Overheads . 9 - Right Overheads , 10 - Room Microphone.
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 is ideal choice, alternately you can use AKG's or Sen MD421 if thats not available.
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 bottom skin from the snares.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 Sm57, 58 , Sen 825
Toms: Having individual microphones for both your toms will give you more flexibility,again, apply 2 finger rule.
Or you can use(depending on the genre of music) 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.
Microphone choice : Beta 57A, I applied Beta 52 to the low tom for a more thicker sound.
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 NT5's capture the high ends really well.Also you can use U87/89; AKG C414
Room Microphone : Always have a room microphone placed at the sweet sounding spot in the room.This will capture the reverbrations and the fullness of the room.. For away from the kit,listen to the room and place it ,where it sounds best. Newmans U87/89 are usually the best room microphones.
Panning the Drums : Panning will help you in projecting the correct image of the kit.Imagine the kit from the perspective of the listner and pan it accordingly. Remember , its the other way round of how the player will perceive it. For e.g. Hi tom is panned to approx 80 % right and Low toom approx 70% left.Whereas your overheads are panned hard left and right.Imagine the placements of each drum and pan it,as it exists in the physical world.
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..!}
References :
(1)Grice, David.2007.Tutorials on Sound Engeneering (3).13 March'07.University Of Adelaide.
(2)Readings on My Uni.Music Technology(3)2007.
Creative Computing :
* Server Architecture,
* Open sound control ,
* Interconnected musical networks
Forum : David Harris and his orchestra : Quite a lot of fun actually ..
Tuesday, March 13, 2007
WEEK 2
Audio Arts :Multi Micing (2)
Recording in 5.1 Surround Sound :The best known spaced-mic arrangement is probably the so-called 'Decca Tree' using three large-diaphragm
omnidirectional mics arranged at the ends of an inverted T, typically measuring roughly two metres across and 1.5 metres deep. However, there are many alternatives and variations including the Faulkner Array and binaural techniques such as the Jecklin Disc
*Faulkner Array belongs with the spaced array stereophonic recording systems, where only the time of arrival difference is involved in the distribution of phantom sources across the loudspeaker base-line.
*A Jecklin Disk is a sound-absorbing disk placed between two microphones to create an acoustic "shadow" from one microphone to the other. Always, a matching pair of omnidirectional microphones are used.
The Ambisonics approach is equivalent to the stereo coincident system, and a spaced surround array is the equivalent of the Decca Tree.
Reference :
(1)Grice, David.2007.Tutorials on Sound Engeneering (3).5 March'07.University Of Adelaide
(2)(3) Readings on My Uni.2007.
https://myuni.adelaide.edu.au/webapps/portal/frameset.jsp?
tab=courses&url=/bin/common/course.pl?course_id=_172363_1&frame=top
(3)http://www.sengpielaudio.com/TonyFaulknerPhasedArray06.htm ,12 March'07
(4)http://en.wikipedia.org/wiki/Jecklin_Disk ,12 March'07
Friday, March 09, 2007
"Music of Spheres" -Adelaide Fringe 2007
"Music of the Spheres" - Live at the Adelaide Planetarium. 23,24 25 March'07 @ 7.30 pm , $23'There is geometry in the humming of the strings.There is music in the spacings of the spheres.- Pythagoras (580-500 BC).
Lying back on comfortable chairs experience the heavens open before you in a breathtaking visual-musical performance. You will be immersed into the colour and sounds of the outer reaches of the universe. As you become enveloped into the 'Music of the Spheres. A performance that truly expresses the music of the spheres in the 21st Century, using actual real sounds and visuals from space
Proudly brought to you by :
Darren Curtis : Artistic director/Performer,
Bradley Pitt : Amateur astronomer,
Martin Lewicki : Planetarium presenter,
Vinny Bhagat; : Performer/Technical Support
Monday, March 05, 2007
Week 1
Creative Computing : Introduction to Super Collider :
Task of the week : "Create a function that takes two arguments - (1) pitch class and octave number - and produces the corresponding the MIDI note number. (2) Create a function that can convert the pitch class and octave number into its corresponding MIDI Note number and then into its corresponding frequency."
I am still working on writing the code for this..I can clearly understand what i have to do but writing that in supercollider is a bit difficult right now..,However I am not very far from it.. (2.40pm, 7march'o7)
Key concepts:
Pitch class : {Cn} = { C-2, C-1, C0, C1, C2, C3 ...}
var Pitch class = [ C-2, C-1, C0, C1, C2, C3, C4 , C5 , C6 , C7 , C8 ]
var midi note names = [ [ 0, 12 , 24 , 36 , 48 , 60 , 72 , 84 , 96 , 108 , 120 ]
pitch class = midi note name
var semitones = [0 , 1 , 2 , 3 , 4 , 5 , 6 , 7 , 8 , 9 , 10 , 11 ]
var note names = [C , C# , D , D# , E , F , F# , G , G# , A , A# , B ]
semitones = note names
A3 = 440 HZ, which is midi note no 69
var frequency = [ A0 , A1 , A2 , A3 , A4 , A5 , A6 ]= [55 , 110 , 220 440 , 880 , 1720 , 3520 , 7040 ]
I need an algorhythm to relate all these concepts .. I am thinking...!!
expr (440. * exp(.057762265 * ($f1 - 69.))); -- How do i put this algorhythm into supercollider ??
---------------------------------------------------------------------------------
Audio Arts:
Sound Engineering (3) as this component is called aims to covers a wide range of topics..I am glad we have a list of areas we will be covering each week..To start of, wk 1 is about Multi Micing..
Why record Stereo ? "The principle of binaural recording is to replicate the way our ears capture sounds, and replay those sounds directly into the corresponding ears(1)."
It preserves depth, perspective, and hall ambience -- all when you use several closeup mics, panned into position..Further, a true stereo recording conveys
* the depth or distance of each instrument
* the distance of the ensemble from the listener (the perspective)
* the spatial sense of the acoustic environment--the ambience or hall reverberation.
Goals of stereo Micing : " Accurate localization", i.e. "the reproduced instruments should appear in the same relative locations as they were in the live performance".
Polar patterns : Get familair with all the polar patterns and their uses before learning the various stereo microphone techniques..
* Half-omnidirectional or hemispherical: Picks up equally over a 180 spherical angle.
{All of the following patterns are considered unidirectional because they pick up mainly in one direction.}
* Cardioid: “Heart-shaped” pattern that offers maximum rejection (null) at the rear of the microphone.
* Supercardioid: Has a narrower pickup pattern than cardioid, but also has some rear pickup. Note that there are two nulls of maximum sound rejection.
* Hypercardioid: Has a narrower pickup pattern than supercardioid, but also has more rear pickup than supercardioid. Note that there are two nulls.
* Bidirectional (figure-eight or cosine): Picks up mainly in two directions (in front of and behind the mic) and rejects sound from the sides.
Various Stereo Microphone Techniques :
* Spaced Pair :
* Coincidnt pair or XY/intensity streo method :
Method : 2 directional microphones mounted over top with diaphragms one above another,nearly touching,angled apart towards the left and right side of the recording source.."The greater the angle between microphones, and the narrower the polar pattern, the wider the stereo spread". (quotes taken from readings on my Uni )
* Mid side : click here to listen to the recording example
Location : EMU
Track : "Om Jai" using mid side technique
* Near Coincident pair
* Baffled Omni Pair
*******{Recordings coming very soon }
References:
(1) http://www.soundonsound.com/sos/1997_articles/mar97/stereomictechs2.html
5March'07
(2)Grice, David.2007.Tutorials on Sound Engeneering (3). 27 Feb'07.University Of Adelaide.
(3) Readings on My Uni.2007.
https://myuni.adelaide.edu.au/webapps/portal/frameset.jsp?tab=courses&url=/bin/common/course.pl?course_id=_172363_1&frame=top
(4) http://www.crownaudio.com/mic_web/tips/mictip2.htm 5 March'07
Task of the week : "Create a function that takes two arguments - (1) pitch class and octave number - and produces the corresponding the MIDI note number. (2) Create a function that can convert the pitch class and octave number into its corresponding MIDI Note number and then into its corresponding frequency."
I am still working on writing the code for this..I can clearly understand what i have to do but writing that in supercollider is a bit difficult right now..,However I am not very far from it.. (2.40pm, 7march'o7)
Key concepts:
Pitch class : {Cn} = { C-2, C-1, C0, C1, C2, C3 ...}
var Pitch class = [ C-2, C-1, C0, C1, C2, C3, C4 , C5 , C6 , C7 , C8 ]
var midi note names = [ [ 0, 12 , 24 , 36 , 48 , 60 , 72 , 84 , 96 , 108 , 120 ]
pitch class = midi note name
var semitones = [0 , 1 , 2 , 3 , 4 , 5 , 6 , 7 , 8 , 9 , 10 , 11 ]
var note names = [C , C# , D , D# , E , F , F# , G , G# , A , A# , B ]
semitones = note names
A3 = 440 HZ, which is midi note no 69
var frequency = [ A0 , A1 , A2 , A3 , A4 , A5 , A6 ]= [55 , 110 , 220 440 , 880 , 1720 , 3520 , 7040 ]
I need an algorhythm to relate all these concepts .. I am thinking...!!
expr (440. * exp(.057762265 * ($f1 - 69.))); -- How do i put this algorhythm into supercollider ??
---------------------------------------------------------------------------------
Audio Arts:
Sound Engineering (3) as this component is called aims to covers a wide range of topics..I am glad we have a list of areas we will be covering each week..To start of, wk 1 is about Multi Micing..
Why record Stereo ? "The principle of binaural recording is to replicate the way our ears capture sounds, and replay those sounds directly into the corresponding ears(1)."
It preserves depth, perspective, and hall ambience -- all when you use several closeup mics, panned into position..Further, a true stereo recording conveys
* the depth or distance of each instrument
* the distance of the ensemble from the listener (the perspective)
* the spatial sense of the acoustic environment--the ambience or hall reverberation.
Goals of stereo Micing : " Accurate localization", i.e. "the reproduced instruments should appear in the same relative locations as they were in the live performance".
Polar patterns : Get familair with all the polar patterns and their uses before learning the various stereo microphone techniques..
* Half-omnidirectional or hemispherical: Picks up equally over a 180 spherical angle.
{All of the following patterns are considered unidirectional because they pick up mainly in one direction.}
* Cardioid: “Heart-shaped” pattern that offers maximum rejection (null) at the rear of the microphone.
* Supercardioid: Has a narrower pickup pattern than cardioid, but also has some rear pickup. Note that there are two nulls of maximum sound rejection.
* Hypercardioid: Has a narrower pickup pattern than supercardioid, but also has more rear pickup than supercardioid. Note that there are two nulls.
* Bidirectional (figure-eight or cosine): Picks up mainly in two directions (in front of and behind the mic) and rejects sound from the sides.
Various Stereo Microphone Techniques :
* Spaced Pair :
* Coincidnt pair or XY/intensity streo method :
Method : 2 directional microphones mounted over top with diaphragms one above another,nearly touching,angled apart towards the left and right side of the recording source.."The greater the angle between microphones, and the narrower the polar pattern, the wider the stereo spread". (quotes taken from readings on my Uni )
* Mid side : click here to listen to the recording example
Location : EMU
Track : "Om Jai" using mid side technique
* Near Coincident pair
* Baffled Omni Pair
*******{Recordings coming very soon }
References:
(1) http://www.soundonsound.com/sos/1997_articles/mar97/stereomictechs2.html
5March'07
(2)Grice, David.2007.Tutorials on Sound Engeneering (3). 27 Feb'07.University Of Adelaide.
(3) Readings on My Uni.2007.
https://myuni.adelaide.edu.au/webapps/portal/frameset.jsp?tab=courses&url=/bin/common/course.pl?course_id=_172363_1&frame=top
(4) http://www.crownaudio.com/mic_web/tips/mictip2.htm 5 March'07
BAck to UNI - Final semester
The final semester for my study in Adelaide..Doesn't feel like 3 years.. Time really flies.. I am really excited about things,esp visiting delhi, with a whole new experience, alot of memories and an everlasting love for my artNmusic.
Thanks to all the beautiful people responsible for this.
Here is the list of courses I am currently enrolled in..
*Music Technology 3
*Music in Context: Jazz 3
*Music in Context : Music since 1900( classical theory 3)
*Computer Science 1A
Thursday, March 01, 2007
Music & Narrative
Music and Narrative : The art of story telling through Music..
“Is not music the mysterious language of a distant realm of spirits, whose lovely sounds recho in our soul and awaken a higher, because more intensive life" ?
Click here to read my full paper for Foundation for Honours..
“Is not music the mysterious language of a distant realm of spirits, whose lovely sounds recho in our soul and awaken a higher, because more intensive life" ?
Click here to read my full paper for Foundation for Honours..
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