This week, the forum continued
introducing non-first-year students and their respective projects to the newcomers.
Ben Prubert presented his Multimedia project of MAX in which he was manipulating audio and video in a real-time manner using MAX. It looked pretty fascinating, however, since I don't have enough ideas how MAX actually works, I can't really analyze what he did. Considering the outcome (which to me is more than just the most important part), it was great.
Freddie presented his 1st semester project for Creative Computing. To me it was good in the sense that I could easily imagine of his work as a soundtrack for a movie. (His final result had the same vibe as the soundtrack for the film "Deadman" by Jim Jarmusch. The music for that film is by Neil Young.
Doug presented an interesting video of his process of making his 1st semester Creative Computing project. It was one of the best presentations so far (in my opinion) showing the actual progress of the developing of an artwork
..
Saturday 29 March 2008
CC2 - Semester 3 - Week 4
MIDI Controller (Part II)
The idea was to expand last weeks' MIDI controller patch in MAX; however, since I needed a new review on what I was doing, I started from scratch. Hence, the different appearance of my "Astalavista MIDI Controller"!
It looks like this:
Since I'm not rich yet, and therefore I can't genuinely support copyright, I have added the entire MAX patch text here as an ultra-open-source for this fantastic innovation of mine!
Here it is:
Note: The external MIDI controller keyboard Novation Remote SL does not cover the entire range of pitch bend and modulation (i.e. 128 values). I haven't tested the patch with other hardware so I do not know of its performance elsewhere..
Cheers!
References:
- Christian Haines 'Creative Computing 2.1' Lecture presented at the Electronic Music Unit, University of Adelaide, South Australia, 27/3/2008
- Max MSP, Wikipedia (http://en.wikipedia.org/wiki/Max/MSP) [Accessed 31/3/2008]
The idea was to expand last weeks' MIDI controller patch in MAX; however, since I needed a new review on what I was doing, I started from scratch. Hence, the different appearance of my "Astalavista MIDI Controller"!
It looks like this:
Since I'm not rich yet, and therefore I can't genuinely support copyright, I have added the entire MAX patch text here as an ultra-open-source for this fantastic innovation of mine!Here it is:
Note: The external MIDI controller keyboard Novation Remote SL does not cover the entire range of pitch bend and modulation (i.e. 128 values). I haven't tested the patch with other hardware so I do not know of its performance elsewhere..Cheers!
References:
- Christian Haines 'Creative Computing 2.1' Lecture presented at the Electronic Music Unit, University of Adelaide, South Australia, 27/3/2008
- Max MSP, Wikipedia (http://en.wikipedia.org/wiki/Max/MSP) [Accessed 31/3/2008]
AA2 - Semester 3 - Week 4
Recording percussion.
For the 1st one, a recording of a snare, I used an SM57, a U-87 and an AKg414. The trick in the mix is that in the final result, the U-87 and the 414 (which are positioned far from the sound source) are panned 100% left and right.
The 2nd one is a bongo. I used all 4 mics of mine (the previous ones plus an MD421) to get my desired sound. This mix contains a stereoised!! MD421 track. (two channels are in 180 degrees of phase difference)
For the third one, I played a tambourine through the recording room in a circle. I was simultaneously moving between the four microphones.. the result is interesting to be listened to in a pair of headphones. (the initial idea was from Freddie)This was my fantastic job of the 4th week.
Cheers.
Sanad
References:
- David Grice, 'Audio Arts 2.1' Lecture presented at the Electronic Music Unit, University of Adelaide, South Australia, 25/3/2008
For the 1st one, a recording of a snare, I used an SM57, a U-87 and an AKg414. The trick in the mix is that in the final result, the U-87 and the 414 (which are positioned far from the sound source) are panned 100% left and right.
The 2nd one is a bongo. I used all 4 mics of mine (the previous ones plus an MD421) to get my desired sound. This mix contains a stereoised!! MD421 track. (two channels are in 180 degrees of phase difference)For the third one, I played a tambourine through the recording room in a circle. I was simultaneously moving between the four microphones.. the result is interesting to be listened to in a pair of headphones. (the initial idea was from Freddie)This was my fantastic job of the 4th week.Cheers.
Sanad
References:
- David Grice, 'Audio Arts 2.1' Lecture presented at the Electronic Music Unit, University of Adelaide, South Australia, 25/3/2008
Sunday 23 March 2008
Forum - Semester 3 - Week 3
This week's session was dedicated to presentation by few 2nd and 3rd year students, me, Jacob, David and Edward.
My personal impression was that some of the works we have/opt to do outside the regular educational curriculum, is unconsciously too sophisticated. In other words, many of us students' final results can be achieved through processes simpler than what we normally go through.
I presented my last semester's project in Earpoke, in which I had fused a female vocal line and noise-based rhythms. I could have done a better job simply by using 2 or 3 softwares and byebye! However, the other side of these experiments and exercises is that in the way of coming up with these fantastic! sonic works, we are urged to overcome several problems which consequently
help us be more "creative".
I hope 1st year students are not freaked-out! some works (particularly David's) were way advanced-looking and a bit scary at the first look!
My personal impression was that some of the works we have/opt to do outside the regular educational curriculum, is unconsciously too sophisticated. In other words, many of us students' final results can be achieved through processes simpler than what we normally go through.
I presented my last semester's project in Earpoke, in which I had fused a female vocal line and noise-based rhythms. I could have done a better job simply by using 2 or 3 softwares and byebye! However, the other side of these experiments and exercises is that in the way of coming up with these fantastic! sonic works, we are urged to overcome several problems which consequently
help us be more "creative".
I hope 1st year students are not freaked-out! some works (particularly David's) were way advanced-looking and a bit scary at the first look!
CC2 - Semester 3 - Week 3
This was 3rd week's exercise:
Create a small virtual keyboard 'application' that emulates the core behaviour of the application "MIDIkeys", namely - MIDI input, MIDI output, velocity and channel. Also, include a display that shows the following - octave number, pitch class, MIDI note number and MIDI note name.
and I came up with this MAX patch:
The actual patch is stored here:
References:
- Christian Haines 'Creative Computing 2.1' Lecture presented at the Electronic Music Unit, University of Adelaide, South Australia, 20/3/2008
- Max MSP, Wikipedia (http://en.wikipedia.org/wiki/Max/MSP) [Accessed 22/3/2008]
Create a small virtual keyboard 'application' that emulates the core behaviour of the application "MIDIkeys", namely - MIDI input, MIDI output, velocity and channel. Also, include a display that shows the following - octave number, pitch class, MIDI note number and MIDI note name.
and I came up with this MAX patch:
The actual patch is stored here:References:- Christian Haines 'Creative Computing 2.1' Lecture presented at the Electronic Music Unit, University of Adelaide, South Australia, 20/3/2008
- Max MSP, Wikipedia (http://en.wikipedia.org/wiki/Max/MSP) [Accessed 22/3/2008]
Saturday 22 March 2008
AA2 - Semester 3 - Week 3
The objective for this week was to experiment some recordings of a guitar amplifier.
There were obviously several microphones an also different positioning techniques.
As apparent in the picture below, I examined few microphones and different positions...
I used a PZM mike, an SM58, an AKG414, a Sennheiser MD421 and I also used the result of the Direct Input; which ended up being present in all the final 3 mixes.
1st mix: microphones are close to the amplifier; the mix is the results of the DI, AKG and Sennheiser.
2nd: mics are in a distance of about 10 inches from the amp; DI and SM583rd: mics are about a meter away from the amp; DI and MD421.
References:
- David Grice, 'Audio Arts 2.1' Lecture presented at the Electronic Music Unit, University of Adelaide, South Australia, 18/3/2008
There were obviously several microphones an also different positioning techniques.
As apparent in the picture below, I examined few microphones and different positions...
I used a PZM mike, an SM58, an AKG414, a Sennheiser MD421 and I also used the result of the Direct Input; which ended up being present in all the final 3 mixes.1st mix: microphones are close to the amplifier; the mix is the results of the DI, AKG and Sennheiser.
2nd: mics are in a distance of about 10 inches from the amp; DI and SM583rd: mics are about a meter away from the amp; DI and MD421.References:
- David Grice, 'Audio Arts 2.1' Lecture presented at the Electronic Music Unit, University of Adelaide, South Australia, 18/3/2008
Friday 14 March 2008
Forum - Semester 3 - Week 2
A big part of this session was spent on discussing the issues and problems with blogging; Not just the problems faced by students, but also concepts and controversies of blogging in general.Some terms in the world of blogging were introduced to us, such as:
- Blogademia: term refering to the academic study of weblogs. Coined in 2003 as the title of a blog concerning a study of the language used in blogs.
- Blogalisation:The Internet trend from the beginning of the 21st century of making a blog out of everything. You have sport blogs, car blogs, news blogs, love blogs, photo blogs, etc.
- Blog fodder: An interesting idea, story, or link. Referred to as blog fodder when your first reaction is to use it in your blog.
- Blogarrhea: A condition where a person posts rambling, long, or frequent entries in their blog.
- Blog hawk: One who constantly checks or refreshes their own blog to see how many hits they've gotten.
- Blogamy: the custom or condition of having a marital relationship strictly confined to the blogosphere. People in a blogamous relationship may or may not be married to others in real life.
- Blogerati: The blogosphere intelligentsia.
- Blogblivion: When a blog is neglected by its creator.
Nice, huh?
image taken from Freelance Switch: (http://freelanceswitch.com/images/freelancers_blog.jpg)
References:
- Urban Dictionary: (www.urbandictionary.com) [Accessed 14/3/8]
CC2 - Semester 3 - Week 2
I don't really know if I have properly understood the exercise for this week or not; here it is:
Create a patch that prints the notes of a Pythagorean chromatic scale in descending order. The patch must contain a user selectable starting pitch and octave.
This patch I have created, asks the user to determine the note and the octave, then it prints the frequencies out,..
As an example, I give the patch the input of C# and the 2nd octave: the results would be: (check the MAX window in the top right hand side of the picture)
The patch is here to download:
References:
- Christian Haines 'Creative Computing 2.1' Lecture presented at the Electronic Music Unit, University of Adelaide, South Australia, 13/3/2008
- Max MSP, Wikipedia (http://en.wikipedia.org/wiki/Max/MSP) [Accessed 16/3/2008]
Create a patch that prints the notes of a Pythagorean chromatic scale in descending order. The patch must contain a user selectable starting pitch and octave.
This patch I have created, asks the user to determine the note and the octave, then it prints the frequencies out,..
As an example, I give the patch the input of C# and the 2nd octave: the results would be: (check the MAX window in the top right hand side of the picture)
The patch is here to download:References:
- Christian Haines 'Creative Computing 2.1' Lecture presented at the Electronic Music Unit, University of Adelaide, South Australia, 13/3/2008
- Max MSP, Wikipedia (http://en.wikipedia.org/wiki/Max/MSP) [Accessed 16/3/2008]
AA2 - Semester 3 - Week 2
This session was about recording voice/vocals. I have personally had some experiences of recording vocals before. However, this time we were told of some tricks and David arose some points which were new to me.
For the exercise, Freddie, Edward and I recorded few takes of different sentences in various intonations:
1- AD: Edward read this sentence as if he were to promote some product, however, the dynamics were not of an issue since he was relatively reading the sentence like a narration in a film:
2- Speech: Freddie read the procedure of starting up/shutting down the studio in a very calm manner; more or less like the normal way he speaks.
3- Dynamics: Same set of phrases were read by Freddie but this time the dynamics were really matters of attention. I used a compressor and basically did some jobs of mixing after the recording:
Here is a good PDF about vocal miking techniques.
References:
- David Grice, 'Audio Arts 2.1' Lecture presented at the Electronic Music Unit, University of Adelaide, South Australia, 11/3/2008
- Vocal Miking Techniques (PDF Format), California State University - Chico (www.csuchico.edu/~ja77/RecArts/Downloads/VocalMikingTechniques.PDF) [Accessed 14/3/8]
For the exercise, Freddie, Edward and I recorded few takes of different sentences in various intonations:
1- AD: Edward read this sentence as if he were to promote some product, however, the dynamics were not of an issue since he was relatively reading the sentence like a narration in a film:
2- Speech: Freddie read the procedure of starting up/shutting down the studio in a very calm manner; more or less like the normal way he speaks.
3- Dynamics: Same set of phrases were read by Freddie but this time the dynamics were really matters of attention. I used a compressor and basically did some jobs of mixing after the recording:
Here is a good PDF about vocal miking techniques.
References:
- David Grice, 'Audio Arts 2.1' Lecture presented at the Electronic Music Unit, University of Adelaide, South Australia, 11/3/2008
- Vocal Miking Techniques (PDF Format), California State University - Chico (www.csuchico.edu/~ja77/RecArts/
Forum - Semester 3 - Week 1
This session was held not in the place and not at the time it was supposed to be held. Besides, I had attended WOMADelaide and I was not present.
I apologise for any inconvenience caused.
Sanad
I apologise for any inconvenience caused.
Sanad
CC2 - Semester 3 - Week 1
We are to get into programming; as far as I know the main software with which we would deal a lot is Max MSP.
As an introduction to the whole programming environment, we were told of Pseudocode. The university of North Florida describes it as "an artificial and informal language that helps programmers develop algorithms... a "text-based" detail (algorithmic) design tool "(I tried my best not to consider Wikipedia as a source).
Our task for this week is pretty simple: we should write a pseudocode program that continuously
maps and converts the different components of a drum kit into different respective notes
of the major D scale. After the conversion the program should then play the notes on a
musical device until 20 notes are heard.
This is what I came up with:
References:
- Christian Haines 'Creative Computing 2.1' Lecture presented at the Electronic Music Unit, University of Adelaide, South Australia, 6/3/2008
- Pseudocode Examples, The university of North Florida (http://www.unf.edu/~broggio/cop2221/2221pseu.htm) [Accessed 8/3/2008]
As an introduction to the whole programming environment, we were told of Pseudocode. The university of North Florida describes it as "an artificial and informal language that helps programmers develop algorithms... a "text-based" detail (algorithmic) design tool "(I tried my best not to consider Wikipedia as a source).
Our task for this week is pretty simple: we should write a pseudocode program that continuously
maps and converts the different components of a drum kit into different respective notes
of the major D scale. After the conversion the program should then play the notes on a
musical device until 20 notes are heard.
This is what I came up with:
References:
- Christian Haines 'Creative Computing 2.1' Lecture presented at the Electronic Music Unit, University of Adelaide, South Australia, 6/3/2008
- Pseudocode Examples, The university of North Florida (http://www.unf.edu/~broggio/cop2221/2221pseu.htm) [Accessed 8/3/2008]
Monday 10 March 2008
AA2 - Semester 3 - Week 1
As my main field of interest is ethnomusicology, for this week I thought of a recording session having few non-western musical instruments; say 3!
The first one is a didgeridoo-like woodwind. In order to get a proper sound out of this, the microphone I would use would be the same microphone designed to record a trumpet or saxophone. The important part of the procedure would be to clamp the microphone to the instrument.
The second instrument would
be a frame drum (something like Daf, shown in the picture below). Recording this one is tricky. As a result of the shape of the instrument, the players usually tend to move while playing Daf. Therefore I would choose a microphone with a cardioid pattern of recording.
The third one would be a zither and it would be easier to record. Since the instrument does not move during the recording, a proper positioning makes a huge difference to the final result.
I would take the instrument “Santour” as the example; and I would use 2 SM57s for two sides of it.
References:
Grice, David. 2008. “AA2 – Session planning.” Seminar presented at the University of Adelaide.
Subscribe to:
Posts (Atom)