Week 9 - CC1

Part 1

This week, we continued sampling and processing in a more advanced level.
For the sampling exercise, I used Doug’s voice and the sentence of “We become…” as same as the previous two weeks.
HERE is the basic quote:

Having the voice recorded to a pro-tools track, I reversed it as shown in the picture, and it resulted in this sample:
I applied “delay” to this sample, then I re-reversed the sample, applied “reverb” to it and normalised it.These steps’ samples are here in order:
- delayed and re-reversed sample:

- delayed, re-reversed, reverbed and normalised sample:

The next step was to create regions in the sample utilising the “choices” of pro-tools. In other words, I gave the control of choosing the beginnings and the endings of various regions to Pro-tools using the Tab key and the keys “apple” and “E”. In this process, pro-tools “decides” how and in which parts to chop the sample to different regions.
The next step was to consolidate each region. It was done as shown in the picture.

At the end of this part of the exercise, I had seven samples, which can be found below:
Sample 1
Sample 2
Sample 3
Sample 4
Sample 5
Sample 6
Sample 7
As same as the last two weeks’ exercises, I mapped the samples to octaves 0 to 7 of the keyboard using the device of NN19 in the software “Reason”.
I also mapped the controller knobs of the keyboard “Novation” to the controllers of NN19 (I could have mapped the faders as well). For this, I simply asked reason to “Learn” what knob I want to assign to any particular controller and played with that knob while reason was “Learning”.I set 3 different knobs of the keyboard to control the amount of panning, the samples’ amplitudes and the filter controller of the device.

It is notable that the “resonance” I set for the filter was NOT zero; I could end up having a sort-of WAH effect using the filter.
..and as the final task, I played and recorded a track! It is found HERE.

Part 2:

This part was the process of applying the Gate effect. The gate on one track was supposed to determine when ANOTHER track was supposed to be played. In other words, the control of sending track 1's signals was upon the activity of the Gate effect of track 2. (I still think this explanation has grammatic problems!)

My original track on which I wanted to apply the Gate effect was again the sentence of "We become..." with some slight changes (reversed, delayed, re-reversed and reverbed) and can be heard HERE.
The KEY (the indicator of the activity of the Gate was what Christian had provided for us (Claps sample) affected by Phaser and "Amplitube" effect (which sounds like a distortion to me).

I purposely changed the rhythm of Christian's initial sample and came up with THIS TRACK..
Applying this technique, I got a final result which can be heard HERE.

References:
- "Soundhack" software official website (Accessed [15.05.2007]), (http://www.soundhack.com/)
- Christian Haines 'Creative Computing I' Lecture presented at the Electronic Music Unit, University of Adelaide, South Australia, 10/05/2007.
- Bruce-Douglas, Ian : ‘Propellerhead ReasonReview’, Audiomidi.com (Accessed [15.05.2007]), (http://www.audiomidi.com/aboutus/reviews/douglas_reason2.cfm)