AA 1 Sem 2 Project 'Airport'

The project for the second semester was to recreate a sound scape that we had previously recorded. My sound scape of the airport recorded from one of the observation points had the airport in front and a busy road behind, as a result many of the sounds that I reproduced I was able to by filtering white noise. All inall the project ended up creating a lot of headaches for me, from the time management point of virw through to samples the sounded ok is one program having clicks when put into Cubase. Anyway throughout the entire process I did learn a fair bit, meaning how I won't approach a project like this in the future.

Airport mp3

CC 1 Sem 2 Project "Eno in the Mist"

This electric/acoustic performance piece created a few problems, the major one being that just prior to the performance and recording date my performer had to pull out. This meant a totally new project had to be devised and another performer found. The original idea was conceived to involve the didgeridoo as the instrument so this piece which involves electric guitar meant a whole different approach. The piece, with Tristan Louth-Robins on guitar is my representation of what is happening in relation to the logging of the rain forests. Bar the sounds of the forest and the wind (which were generated using Plogue FFT bidules, spectral gates) the rest of the sounds are that of the guitar, both playing live and sampled loops that were recorded prior to performance. Below is a screen shot of the Plogue patch used plus a mp3 of the piece titled 'Eno in the Mist'.

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Eno in the Mist. mp3.

Haines, C. 2007. Audio Arts Lectures- Semester 2 at the University of Adelaide. July to October.

AA 1 Sem 2 week 11

This weeks exercise was create sounds via the spectral bidules in Plogue. The above screenshot of the patch shows what I first used to create the samples in the mp3 at the bottom of this blog, (all were made from an oscillator with its wave type set to noise).

In the next patch, pictured below I tried running a loop of the mp3 sample (below) as well as a version of the same sample reversed and looped. One problem I found with this set up where the magnitudes and frequencies of both samples were multiplied and the merged was that the output of the signal clipped immediately, so much so I had to add a gain bidule in which I cut the amplitude by an absurd amount. While at home and pondering this patch, (Icould work on it at home as the trial period had lapsed) I have come up with an approach that I will try out but wont be in time for this blog. The plan is to have white noise in one babooche player, whilst the other will have a sample consisting of a number of sine waves, (possibly configured similar to the harmonic series), the sign wave samples will then be subtracted from the noise sample. Other aspects to this could include the use of magnitude and frequencies gates as well as bringing in samples from Spear which have been manipulated.

Sample mp3.

Haines. C. 2007. Audio Arts Lecture at the University of Adelaide. October 16.

CC 1 Sem 2 week 10b

This week’s exercise in CC1 was to elaborate on last weeks samples. This week, working with Fred May, in addition to running the guitar through the Mbox and adding effects, we linked the modulation of an oscillator running into a parameter modulator (abs) to both the pan of one of the channels in the mixer as well as to the wet/dry of the phase bidule. Two recorders were also attached; the first was a direct line out from the Mbox bidule which we used to record samples that were played back into the system using a Rewire of Live Bidule. The second recorder was used to record the entire performance. Above is a picture of the bidule patch we used whilst below is a screenshot of the Live window.

CC1 week 10 mp3.

Ableton 2006, Live. Digidesign Edition Owner's Manual, Ableton.<http://www.ableton.com/>. Accessed 11/07/2007.

Haines, C. 2007. Creative Computing Lecture at the University of Adelaide. October 11.

AA 1 Sem 2 week 10

This weeks exercise was to make up an Additive synth in Plogue's Bidule. After doing the readings I made up the synth above which had six oscillators with the settings for phase, amplitude and which harmonic being adjustable. I had intended to include an ADSR on each of the oscillators but didn't quite know how to attach it as it doesn't have a simple input and output, instead it has triggers and gates which was a little confusing. (I am planning on going over the tutorial on building the Juno synth done earlier this year, hopefully this will show how to add an ADSR). The first the sound examples are using the patch above whilst the last was using the patch below which was suggested by Tristan Louth-Robins.

AA 1 Sem 2 Week 10 mp3

Haines, C. 2007. Audio Arts Lecture at the University of Adelaide. October 9.

CC 1 Sem 2 week 9

This weeks exercise was to work with a partner and to route an instrument through Plogue's Bidule via the Mbox. My partner was Darren Slynn and we ended up downloading the bidule patch and playing around with it. We ended up keeping the Mono ITU Mixer, which was configured for surround sound and just routed each channel into a stereo recorder. We also played around with different effects. The sample mp3 below has a delay, two different phasers, a reverb and a pitch shift connected. During the performance, approx. two thirds of the way in tone of the phasers was played around with to give the piece a little more variety.

CC 1 week 9

Haines, C. 2007. Creative Computing Lacture at the University of Adelaide. October 4.

AA 1 Sem 2 week 9

This week the class investigated FM synthesis using Plogue's Bidule. I found the Miranda reading to be the most helpful as the other reading just seemed to be going over formulas for calculating band width. Any way from just the basic FM synth patch shown to us in class I found a number of interesting sounds, the number of different settings is incredible when you take in to consideration all the possible combinations of merely just the wave patterns let alone the variable settings (freq. and amplitude).

The first three examples were done on the above FM synth while the last is on the synth below. Also see below the mp3 sample of the sounds.

FM Synth.mp3

Haines, C. 2007. Audio Arts lecture at the University of Adelaide. October 2

Forum Sem 2 "The Insturment"

The instrument above is the final version of the instrument that we were required to make for the Forum. Originally I had only incorporated two of the three required aspects, these being tone generation and piezo driving, so in the trouble shooting class during the break the third was added (this being physical computing).

As can be seen above the Arduino board was used with the digital out sketch. This then could activate each of the six square wave generators that were made on the bread board using 2 4093 chips. Each oscillator also had a potentiometer and an LDR connected so as the pitch could be adjusted and the performance could be enhanced.

The signal ran out through a mono jack socket which was connected to a piezo driver which was glued to the bottom of a small cast iron fry pan. The second piezo (mic) was connected using a peg to a small metal bowl which could then be moved and adjusted to played around with the timbre.

Below is a screenshot of the Cubase MIDI piano roll which in which the sequence of notes, (which was looped) was kept simple for the purposes of this exercise. There is also an mp3 in which both myself and Tristan Louth-Robins are playing the instrument.

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Unfortunately due to my files being lost when 'My Data Bus' stoped its free access, I've lost the the mp3 which had highlights of this instrument being played (we videoed it). As I cannot edit this video at home I've uploaded the entire video clip to Youtube. (approx. 5 mins duration)

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Link to Youtube Video

Haines, C. 2007. MTF Forums - Semester 2 at the University of Adelaide.

Tomczak, S. 2007. MTF Forums - Semester 2 at the University of Adelaide.

AA 1 Sem 2 week 5

Even though I'm very inexperienced when it comes to 'Sound Art' I can't stop thinking that unfortunately a lot of what is passed off for sound art is just put into this category mainly because it just doesn't fit into music or any other category. Having said this I'm not against any Sound Art which has some kind of point or aesthetic to it which leads into the piece of work that I've chosen for this blog, 'Spray'- by Alva Noto . The piece is over 7 mins. long and is primarily made up of filtered noise. The piece starts with just a few fragments of noise which build up to a large noise texture which is filtered in various ways.

The artist Alva Noto, also known as Carsten Nicolai was born 1965 in Karl-Marx-Stadt. He is co-founder of the record label Raster-Noton as well as being involved in a number of groups, ie; Signal, Komet, Byetone and Cyclo. "His music features prominently in his art. Nicolai’s work exposes the limitations, and potential beauty and creativity, possible within strict logical systems."1
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Spray

Link to artist website

1 Wikipedia. 2007. Carsten Nicolai.< http://en.wikipedia.org/wiki/Carsten_Nicolai>. Accessed 17 September.

CC 1 Sem 2 week 7

This week exercise was to perform some sampling in real time using the limited version of Live, which only allows you 4 tracks with which to work and using a bunch of NIN samples. This whole exercise was a great deal of fun and considering we were using the limited version, the mind boggles with what could be done with the full version.

NIN mp3.

Haines, C. 2007. Creative Computing Lecture at The University of Adelaide. week 7 2007.

Forum Sem 2 week 7

This week the forum again further investigated the program board Arduino. The exercise was to upload the digital out sketch to the Arduino board and by using the PTAH MaxMSP patch use a MIDI piece from Cubase to activate the four oscillators that were set up on a bread board using a 4093 chip.

This was the first usage of the Arduino board that I could see myself using. With this and a bluetooth Arduino board the practical uses for this process could be limitless. Unfortunately I have no mp3 example of this as the dongle for Cubase had gone missing and the only alternative was to run the process in the Audio lab which I was afraid might interrupt others who were working in there at the time.

CC 1 Sem 2 week 6

This weeks exercise was to again further naturalise the MIDI file used in last weeks blog. This week to further the natural sound the volume was automated to try and emulated what happens in real life. In addition to this I wanted to try and incorporate some effects but unfortunately I couldn't find any that I thought would enhance the sound.
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Black Dog mp3.
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Haines, C. 2007. Creative Computing Lecture at the University of Adelaide.

CC 1 Sem 2 week 5

This weeks exercise is to download a MIDI file of a song off the Internet and make it sound more natural (or should I say even remotely natural). I chose Black Dog by Led Zeppelin. The first mp3 below, (original file) is of course the file as it was when downloaded. In the second mp3 (altered filed 1) I played around with the velocity and slipped various notes backwards and forwards in time so as the piece wasn't so rigid in its beat/rhythm. It is also note able to add that a second guitar part was deleted to help clarify the exercise.

Please note Christian that the mp3 files for these I couldn't find so I bounced a couple of new mp3 as I still had the original Cubase file. The main difference being that I don't have a USM VST plug in so the guitar sounded a little different in the originals.

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Black Dog Original mp3

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Altered File 1 mp3.

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Haines, C. 2007. Creative Computing Lecture at The University of Adelaide.

AA 1 Sem 2 week 7

This weeks exercise was to attempt to make 'natural' sounds using any of a number of mostly analogue synths in studio 4. The process of this on a synth is not a very easy task. Of the examples pictured above (and in the mp3 below) the only example I feel is reasonably on track is the wind/thunder region. All of these samples were played on the Juno 06.

Juno mp3.

Haines, C. 2007. Audio Arts lecture at University of Adelaide. 4 September

Forum Sem 2 week 4

I missed this weeks forum on Bread boarding but found the videos and readings a great help. On making a square wave at first I found it very difficult to get any sound out of it. After checking and double checking all the circuits I gave up. The following week after finding that Seb also had trouble using my bread board I decided to buy my own, this solved the problem. The sample below is a square wave with an LDR replacing the ordinary resister.

LDR Square Wave

CC 1 Sem 2 week 4

This weeks exercise was to virtually have a play around with Cubase. At the time of doing this piece I did not have many VST plugins so the choice of instruments wasn't particularly good, also being off sick lead to a rather uninspiring composition (sorry). Below is are screenshots of the drum edit window and the project window, and the mp3 of the piece.



Week 4 mp3.

1 Haines,C. 2007. Creative Computing lecture at University of Adelaide. 16 August

Forum Sem 2 week 3

I ended up missing this lesson but found that that MTF Videos were great and reasonably easy to follow. I found it interesting playing around with the breadboard. I found my breadboard to be a little touchy, it didn't always produce sound when everything was connected and at times there seemed to be a bit of static or white noise that interfered with the sound. This was the only problem with just relying on and following the videos, I didn't quite know where the problems emanated from, would've been helpful to have Seb around. Anyway still found this forum intriguing and have posted a sample below.

Sample

Forum Sem 2 week 2

This week in forum we were introduced to soldering and also got to wire up a piezo pick up. One of the exercises was to record some things using this piezo pickup. I ended up first of all sticking the piezo inside a piano, then I attached it to a guitar and in the final recording the piezo was connected to one of the windows in studio 5. The last example I thought gave some amazing results. See the examples below.



Guitar mp3



Piano mp3

Window mp3

CC 1 Sem 2 week 3

This weeks exercise was to improve last weeks synth by completing tutorials 2 & 3 of Plogue Bidule. I found tutorial 2 to be extremely difficult and long and tiresome. It ended up taking me a while to complete and even now I feel that I'm going to go over the patch to try and fully understand what was done to the synth. Tutorial 3 was a little easier to follow but I still think it would be useful to look at whats happening in Bidule (with the individual bidules) in class. I think to be able to fully utilise this program intimate knowledge of the individual bidules is vital.

Week 3 Sample

Bidule Patch

CC 1 Sem 2 week 2

This weeks exercise is to create a synth using Plogue Bidule. I've found that while the program is great there are some minor bugs such as at times there has been clicking when notes are played, I'm not quite sure what caused it but it is only a small annoyance.

Week 2 Bidule Sample
Bidule Patch

Haines, C. 2007. Lecture, "Creative Computing". 2 August.

AA 1 Sem 2 week 4

The Magic Fridge Commercial.wmv

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For this weeks exercise I chose two contrasting commercials. The first is a Bud Light beer commercial named the Magic Fridge which I found on the net. This commercial is aimed at males (mostly young), and this is reflected in its sound design with mechanical sounds and 'cool' funky music. The use of these sounds enhances the advertisements, for instance the revolving wall sound gives the feeling that the mechanism is in fact real.

The second commercial I selected (Shi Jano) at first I figured was a quick way to finish this blog with as it only has dialogue all the way through (I wasn't sure whether I was going to use it). On reflection and after analysing it I figured it was a good contrast to the Magic Fridge. The product Shi Jano is some kind of youth cream and so probably aimed at the middle aged women. The way that the commercial is structured is to give somewhat of a news/information report. I believe that they wanted this ad to feel more like an informative program rather than like your average commercial. I think that the lack of jingles slogans and the like kind of proves this.

Haines, C. 2007. Lecture "Sound Design- Audio Arts." 14 August.

AA 1 Sem 2 week 3

For this weeks exercise the two scenes I picked to analyse are from "Star Wars (4) - A New Hope." I picked these scenes because I'd always thought that the sound design in these movies was amazingly good. On analysis I found that there was even more going on in the background of the movie than what I had remembered. In all of the scenes that I was considering there were no moments of absolute silence, an example of this are the scenes on the Deathstar, even when there is no dialogue you could here the humming of the Deathstar's machines in the background.

Haines, C. 2007. Lecture: "Sound Design- Audio Arts". 7 August.

AA 1 Sem 2 week 2

This weeks exercise was to map out and record a sample of sound at a location of our own choice. I chose to record approx. 2 mins. sitting on the metal seats just out front of the music library. The recording was made on a laptop using it's internal microphone so the quality isn't the best but I was still amazed at the multitudes of sounds that I never realised were there until I listened to the playback. Below is the sound sample.

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Kintore Ave.

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Haines, C. 2007. "Audio Arts- Sound Design" Lecture at University of Adelaide. 31 July.

CC 1 Sem 2 week 1

This week in Creative Computing we were introduced to Plogue's Bidule. On playing around with the program I found it to be very user friendly. At home after installing the program I started by opening up every Bidule as this way I could see what colour inputs and outputs each bidule had. I think this is one of the best features in that white outputs can only connect to white inputs and so forth for the blue input/outputs. After creating a few pieces I've found that a lot of clicks were starting to appear, I'm not quite sure why as I've played with Bidule on at least three different computers and the clicks are still appearing.

Week 1 sample

Bidule File

Haines, C. 2007. "Creative Computing" Lecture at the University of Adelaide. 26 July.

Forum Sem 2 week 1

This weeks forum has taken the class in a new direction, this being the construction of our own instruments. The session started off with an outline to the course for this semester, then the class was taken over by Seb Tomczak ,who began to instruct the forum on how to construct a Victorian Synth (pictured right). The synth consists of a speaker (with the leads still attached), a few leads with clips attached and a 9 volt battery. Once all the leads are connected except for the last, the synth is then played by touch the leads together which completes the circuit. Even though it was a very basic instrument it was still possible to get a number of sounds out of it. I found that it was a great introduction to this subject. Below is a sample M4V clip of the synth in action, just be careful with the sound level as it's pretty loud once the svnth kicks in.

Vic Synth SampleMpeg4 video file

Tomczak, S. 2007. "Forum Workshop" at the University of Adelaide. 26 July.

AA 1 Sem 2 week 1

The sound design sample that I submitted in my mind instantly suggests Pink Floyd and Money right from the onset. The form of the sound is made up of a montage of sampled cash registers sounds. It's function instantly identifies the song and the band.

Money

This was actually my second choice of an example of sound design. My first was going to be the sounds of ATM's (automatic tellers), but the fact that these machines have such a boring, limited array of sounds, meant I couldn't be bothered going through the process of recording for so little a result. I thought I'd include this info as I found it amazing that a companies machine that interfaces with people on mass, has no individual aspects of sound design to link it with it's company.

Haines, C. 2007. Lecture "Sound Design week 1" at The University of Adelaide. 24 July.

Image

Wikipedia. 2007. <http://en.wikipedia.org/wiki/The_Dark_Side_of_the_Moon> Accessed 30 July.

Manwhore

Well, this is the project then. I'm not going to bother talking about the mic placements or technical side of things as these aspects are cover in the PDF files at the end of this blog.

In this project I had the opportunity to record a Hammond Organ, (pictured right) running through a Leslie rotating speaker cabinet. (pictured below right). I'd never had an opprtunity before this to be around a Hammond/Leslie combination before and never really thought that I would ever realistically get a chance.

As the Hammond was cranked up it the power of it was unbelievable. When it played notes in the low end you could feel the vibrations through your body. The rotating cabinet put out an incredible sound and as can be seen right we miced it up top and bottom. The horns that can be seen at the top cavity in the back of the cabinet right, show the two horns, one of which is blocked and only really used as a counter weight.

At this point I'd like to thank the guys in the band, 'Aussie Bloke' (Mark Richardson, Rob Riley, Tony Lavis and Emmo Granozio), as well as Tristan Louth-Robins who helped with the bump in and bump out of the main recording session. Below is a mp3 of the recorded song "Manwhore" as well as all the related PDF's.

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Manwhore

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Pre-Production,pdf

Recording.pdf

Production.pdf

Newspaper

Newspaper
Bradley Leffler
Minutes ‘ Seconds (Italic 11pt Arial)

The raw source material for this piece all came from sounds that have some kind of association with the newspaper, these being the sound of reading an article, the sounds made by the newspaper itself and finally sounds utilising the headlines written out and made into a filter for Meta Synth. All of these sounds were then manipulated to form different sounds that at least to me, represented the articles from the paper. The original concept for the piece was to have two contrasting sections, but the piece just developed into one long work with contrasting sections. Also relating to its form I’d originally had everything planned out but chance seemed to play a part in this as I had thought that I would start at the front page and work my way to the back page. Instead of this I tended to shuffle through the paper until I found an interesting story, then repeated the process.

The piece begins with two short articles relating to politicians. The recording of these articles were sped up and then a few sounds that were representative of the feelings they evoked were laid over the top of them. The next section represents the many different happenings occurring around the world at the same time. Sport then begins with a sound meant to reflect a crowd cheering and finally the last section is the culmination of all of these stories running around inside my head.

Score

Newspaper.mp3

CC 1 week 12

Similar to Schaffer and Henry works with Train sounds and Orchestral sounds, this piece will be based on one particular source, this being the newspaper. The textures of all sounds will be derived from a newspaper which will also act as the impetus for the score. I will find sounds associated with newspapers, ie: reading, rustling etc. These sounds will then be arranged and manipulated to create the 'Music concrete' piece of music.
The piece will consist of two contrasting sections, (A & B). Section A will be based on the more serious stories towards the front of the paper and thus shall have a dark ambient underlying tone that will be interrupted by bursts of sounds. Section B will have a lighter feel with sounds crossfading in and out and will be based on some of the lighter stories from the paper.
The sounds to be used in this piece will consist of sounds made by the paper alone as well as stories being read, recorded and then manipulated. In the samples of read sounds I will attempt to make certain words legible while the rest citations become less legible, (ala Stockhausen). The last process to be used to produce sounds will utilise filters in MetaSynth. Sections of the paper will be retyped using different colours and font sizes and these retyped stories will make up the required filters.
Software to be used in this piece will be as follows:-

• MetaSynth, for Filters and general sound editing.
• Audacity
• Spear
• Peak LE
• Pro Tools, for final mix down.
  
  Please see the Jpeg below which roughly shows the conception of the piece.

AA 1 week 12

This weeks exercise was to mix down three different mixes of Eskimo Joe using Compression, Effects and Stereo Processing (and Automation).[1]

Sample 1

In this mix I compressed the Kick, Snare, Drum Overheads, Electric Guitar and one of the Vocal Tracks. After compressing all of these the mix seemed to loose a bit of its brightness.

MIX 1


Sample 2

In this mix I kept all the compression from the previous mix and added some distortion to the
Electric Guitar as well as to the 'Stu Verse' track. The 'verse git' track was reversed and slightly adjusted to fit in with the rhythm. The final effect used was on the lead vocals which had a delay added to try to fatten them up.

MIX 2


Sample 3

In this sample for a change I picked the beginning of the song to mix. The 'verse git' was bused to two different AUX tracks that were panned left and right and which each had a different delay and different parameters. One of these AUX tracks also had a pitch shift (up an octave) effect on it. This gave an effect similar to U2 and Eno.

MIX 3

Comments

Over all I wouldn't have minded spending more time on sample 3 to see how far away from the original I could have got this without completely "Jacking" it to pieces.

[1]Fieldhouse, S. 2007, "Audio Arts Lecture - Week 12", University of Adelaide, 29/05/2007

Forum week 11

This weeks subject again was destruction and construction. The first presenter, Simon Whitelock discussed how people 'JACK' samples of popular music and either creatively build on the sample to construct, or alternatively loop the sample and virtually destroy the sound. He suggested that by using samples from popular songs increase the chances of success.

The next presentation was by Nathan Shea and introduced the forum to 'Black Metal'. This is a style of music where that could be described as Lo-Fi metal. He discussed the culture behind this music and related this Lo-Fi aspect as kind of deconstructing the music to create a new form.

The final presenter was John Delaney who spoke of created ambient soundscapes that install fear. He suggested that the music alone could not produce fear but it was possible with the addition of visual aspects. He played some examples of soundscapes that create this mood and then analysed some of the aspect that helped to create this mood.

[1]Whitelock, S. "Forum week 11", at University of Adelaide, 24/05/2007
[2]Shea, N."Forum week 11", at University of Adelaide, 24/05/2007
[3]Delaney, J. "Forum week 11", at University of Adelaide, 24/05/2007

CC 1 week 11

This weeks exercise was to again edit a vocal sample using MetaSynth. The finished soundscape was to be edited using all the different rooms and finally put together in the Montage Room.[1] In the sample below I tried to put together a kind of back beat that was kind of industrial and that didn't quite blend together properly. I then layer other sounds over the top for a bit of texture. I wasn't completely happy with this sample but had to settle for it due to the lack of time available time in studio 5.


All in all I find MetaSynth to be an amazing program despite it's glitches, (I've never crashed a computer so many times before). I think that I would still prefer to mix or layer sound in programs other than MetaSynths 'Montage Room', but have found this program to be an incredible sound editor with countless numbers of possibilities.

Sample 1


[1]Haines, C. Lecture "Creative Computing" at University of Adelaide, 24/05/2007
[2]Wenger, E. 2005, Meta Synth 4.0, http://www.metasynth.com

AA 1 week 11

This weeks exercise was to create three different mixes of an Eskimo Joe song. Below is the Pro Tools edit window showing the area which my samples were mixed from.[1]

Edit sample 1

This sample was mixed dry, only using the volume faders to effect the mix.[2] The second acoustic guitar was dropped as the mix was mono and all tracks that weren't used in this section were deleted so as to make the mix window less confusing for this exercise. I aimed in this sample to let all the instruments to be heard without any one instrument dominant.

Dry edit sample

Edit Sample 2

In this mix I kept the two acoustic guitars, which were panned left and right. Two of the three backing vocal tracks were also panned left and right. The volume of the drum overheads was automated to cut out and then slowly fade back in (see edit window for Edit sample 3)

Vol/Pan Sample

Edit Sample 3

The final mix had similar volume and pan as sample 2 but also included EQ on some of the tracks. The drum overheads had a high pass filter plus a little boost in mid to high frequencies to enhance the H/hat. This cut out the spillage from the kick and gave the cymbals a little boost. The snare had a 4 band EQ to try to get a bit more of a snap in it. One of the electric guitar tracks had the mid boosted a little to try to take away what I considered to be a harshish kind of guitar part. The lead vocals had very little EQ added. The final EQ was on one of the backing vocal track named LwdbicHYC (second track from the right below). This vocal in parts mirrored the lead vocals in a lower register, it had a little top end rolled off and the mid to bass boosted.

EQ Sample

[1]Digidesign. "Pro Tools HD version 7.3.1" http://www.digidesign.com/index.cfm

[2]Fieldhouse, S. "Audio Arts Lecture week 11" at University of Adelaide , 22/05/2007