CC2 Week 6

I wanted the drunk object to play random notes on the keyboard. My MAX keyboard goes from key 24 to 95 so I set that as a variable range with a range of 50 for the window. The tempo of the notes played can be adjusted by the user but I felt it needed more. The patch was not ‘drunk enough.’ I continued by adding the ‘random’ object and made that send random numbers up to 1000 so as to change the metronome speed. This created a very sporatic tempo. This second stage of drunkeness I nicknamed ‘paro.’ The patch is included as a separate MAX object in the folder along with the MIDI filter that was made to select black/white/all keys. I made some LED’s and a simple dial for the delay in Photoshop and put those in ‘pictctrl’ objects to finish it all off.

patch

Haines, Christian. 2008. “CC2 – Introduction to Max.” Seminar presented at the University of Adelaide, 20th March.

1990-2005 Cycling 74/IRCAM

Forum Week 6

There is an asumption that we like this musique concrete stuff or at least a hope that we will eventually cave in and love it. As I alluded to in last weeks blog, the only ‘real’ future for this type of music is in psychoacoustics. Perhaps as a form of torture even. Now, I hear the lecturers and a few third years say “we must appreciate the history” and “we wouldn’t be here without these pioneers” and that is all well and fine but Burke and Wills were pioneers and yet we don’t get carted around in a horse and carriage around Uni every day or be expected to trek to Uni for four days when we can use an automobile of some kind to get here. There is more to electronic music than musique concrete and it’s sleep inducing derivatives. AND THIS WEEK I MISSED IT!!! BAH!! If what I interpret from other people’s blogs as correct, then I love the sort of thing that was presented. Manipulating sound and pictures to represent some sort of ‘wonkiness’ or to create the sensation that something isn’t quite right is where I want to go. Apparently David presented a video with out of synch sound. I’m not sure of the content of the video, but yes I find it completely annoying when a video drifts out of synch by even half a second throughout. Damn lazy people that cannot convert 29.97 non drop to 25 fps properly and think no one will notice. From an artistic viewpoint though, the creation of psychoacoustical phenomena of visual and audio ‘nervousness and uneasyness’ is definitely an area of interest.

Whittington, Steven. 2008. “Forum.” Seminar presented at the University of Adelaide, 10th April.
Harris, David. 2008. “Forum.” Seminar presented at the University of Adelaide, 10th April.

AA2 Week 6 Strings

The usual custom of getting the muso to wander around the room while we listened occurred. We settled on an area close to where the other player was on Tuesday. All the usual mics went up although Doug thought he would try the Sennheiser shotgun mic. The playing was kind of more like a fiddle than a violin but that’s cool. Out of interest the musician commented, just like the other one on Tuesday, that the recording did not sound the same as when she is playing the instrument. I put it down to the musicians ear being so close to the body of the violin and hearing more woody resonance than hearing the room itself. I forgot my camera again so this pic will have to suffice.

here tis

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Grice, David. 2008. “AA54 – Recording Strings.” Seminar presented at the University of Adelaide. 8th April.

Forum Week 5 The Art of Sounds

Pierre Henry and Pierre Schaeffer. The former being the artist, the latter the engineer. After watching his video titled The Art of Sounds, if Pierre Henry wanted to get rich he was targeting the wrong market. He could have made an absolute fortune peddling his music as an insomnia cure. Seriously. As soon as the video stopped I felt myself being rejuvinated. As soon as the CD was put on and played about 5 minutes after the video, the unrelenting sense of tiredness fell over me again. Is this a psychoacoustical phenomenon? I think I’ll be exploring this further.

Whether I like musique concrete or not is irrelevant. What I do appreciate is the techniques these people applied to recording and editing. It made me laugh as I saw him recording down the tunnel at the start of the film, because I must have looked equally rediculous when I was wandering around Adelaide Zoo last year recording animal noises. Thank you Pierre Henry for making it acceptable for us to look rediculous walking around seemingly aimlessly with a mic in hand and headphones on our head. It is interesting that this technique does involve aimless wandering around with no clue what you are listening for, but when you find it, you know.

Whittington, Steven. 2008. “Forum – Student presentations 2.” Seminar presented at the University of Adelaide, 3rd April.

“Pierre Henry The Art of Sounds.” Eric Darmon, Franck Mallet. Released 29th Oct 2007.

CC2 Week 5

A lot more pennies started falling into place with this assignment. For example, a gate was used to link the pitch control with the delay (labelled ‘p delay’) but the switch only outputs 0 or 1. I needed it to output a 1 and a 2 for the gate. The answer: put a + object with 1 as the argument. Doh! It is actually quite simple after things start clicking in the mind.
Part 1 of this assignment is in the object “p keyfilter” and controlled by the menu above that is currently on “no output.” This is a drop down menu that will contain the options ‘no output’, ‘all keys’, ‘white keys’ and ‘black keys.’

patch

Haines, Christian. 2008. “CC2 – Introduction to Max.” Seminar presented at the University of Adelaide, 20th March.

1990-2005 Cycling 74/IRCAM

AA2 week 5 Brass

I took my son in the studio and recording him playing his saxaphone. I got him to play it while walking around so I could hear it in different places. I decided to go with an omni mic as he moved around a bit while playing. This reveals a lot of room sound but that is cool.

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with U87

with 414

Grice, David. 2008. “AA54 – Recording Brass.” Seminar presented at the University of Adelaide. 1st April.