Sunday 13 April 2008
CC2 - Semester 3 - Week 6
This week's exercise was to expand the MIDI sequencer and add a random sequencer to it.
Besides this, there were few new concepts of working with MAX, namely encapsulation, abstraction in providing objects,...
This is how my patch looks and the entire project can be found in the Box.net section in the right side of the blog.
Debugging was my major issue. I had to consider myself the most stupid user ever and fix the program according to the most stupid behaviour. However, the aesthetics of the patch-programming were really interesting jobs!
References:
- Christian Haines 'Creative Computing 2.1' Lecture presented at the Electronic Music Unit, University of Adelaide, South Australia, 10/4/2008
- Max MSP, Wikipedia (http://en.wikipedia.org/wiki/Max/MSP) [Accessed 22/4/2008]
Besides this, there were few new concepts of working with MAX, namely encapsulation, abstraction in providing objects,...
This is how my patch looks and the entire project can be found in the Box.net section in the right side of the blog.
Debugging was my major issue. I had to consider myself the most stupid user ever and fix the program according to the most stupid behaviour. However, the aesthetics of the patch-programming were really interesting jobs!References:
- Christian Haines 'Creative Computing 2.1' Lecture presented at the Electronic Music Unit, University of Adelaide, South Australia, 10/4/2008
- Max MSP, Wikipedia (http://en.wikipedia.org/wiki/Max/MSP) [Accessed 22/4/2008]
Saturday 12 April 2008
AA2 - Semester 3 - Week 6
Recording strings:
Having realised that we were not necessarily supposed to record 4 different instruments each time (i.e. life is easier than it looks) I recorded Violin, in 4 different ways using 4 different mixture of microphones.
Example 1: I used an NT3 positioned pretty close to the sound source and a Yamaha MZ204 positioned in the rear side of the instrument for picking up the -relatively- bassier frequencies.
Example 2: I used an NT5 close to the violin and a U87 far from the source to pick the natural reverb of the room.
Example 3: An SM58 picking the direct sound of the instrument and an AKG414 for the room reverb.Example 4: Is the mix of a U87 close to the source, a SHOTGUN! Sennheiser MKH416 for the room reverb (that's why they use them, no?) and the U87 placed far from the instrument for more natural sweet room reverb!
See you.
References:
- David Grice, 'Audio Arts 2.1' Lecture presented at the Electronic Music Unit, University of Adelaide, South Australia, 8/4/2008
Having realised that we were not necessarily supposed to record 4 different instruments each time (i.e. life is easier than it looks) I recorded Violin, in 4 different ways using 4 different mixture of microphones.
Example 1: I used an NT3 positioned pretty close to the sound source and a Yamaha MZ204 positioned in the rear side of the instrument for picking up the -relatively- bassier frequencies.
Example 2: I used an NT5 close to the violin and a U87 far from the source to pick the natural reverb of the room.Example 3: An SM58 picking the direct sound of the instrument and an AKG414 for the room reverb.Example 4: Is the mix of a U87 close to the source, a SHOTGUN! Sennheiser MKH416 for the room reverb (that's why they use them, no?) and the U87 placed far from the instrument for more natural sweet room reverb!See you.References:
- David Grice, 'Audio Arts 2.1' Lecture presented at the Electronic Music Unit, University of Adelaide, South Australia, 8/4/2008
Thursday 3 April 2008
CC2 - Semester 3 - Week 5
Here is the expansion of the last week's patch.
There is a legend for the use of the patch so there should be not much problem.
The patch looks like this:
NEWS: I have incorporated this Box.net thingy in my blog. It can be found in the right side of the blog.
Bye.
References:
- Christian Haines 'Creative Computing 2.1' Lecture presented at the Electronic Music Unit, University of Adelaide, South Australia, 3/4/2008
- Max MSP, Wikipedia (http://en.wikipedia.org/wiki/Max/MSP) [Accessed 4/4/2008]
There is a legend for the use of the patch so there should be not much problem.
The patch looks like this:
NEWS: I have incorporated this Box.net thingy in my blog. It can be found in the right side of the blog.Bye.
References:
- Christian Haines 'Creative Computing 2.1' Lecture presented at the Electronic Music Unit, University of Adelaide, South Australia, 3/4/2008
- Max MSP, Wikipedia (http://en.wikipedia.org/wiki/Max/MSP) [Accessed 4/4/2008]
Forum - Semester 3 - Week 5
Pierre Henry.
This week we were shown a video of Pierre Henry, one of the godfathers of avant-garde electronic music and Musique concrète.
The film was called "The Art of Sound", Directed and Written by Eric Darmon & Franck Mallet.
The most interesting part for me was Henry's appreciation for a) being creative and b)sound.
Following the film, Stephen played few excerpts of Henry's works, but to be honest the film and the environment in which Henry was/is working was more impressive for me.
The question that came to my mind while watching the film (and I can recall of other similar situations too) was the link (or rather HOW to link) influences and a work of art.
It often happens that artists are influenced by elements outside their respective field of art. Taking Henry as an example, -according to Stephen- in one of his projects, he was influenced by Tibetan sacred literature. I guess one of the most important parts of education, particularly in universities, is to teach the ways of "being able to materialise ideas and influences". Not to mention it would not happen without a vision of financial survival as well!
Anyway, back to Monsieur Henry.. It was actually one of the first times I really enjoyed musique concrète! I think this IS the influence of the EMU.
PS: The photo is a futuristic representation of EMU Recording Space
References:
- Stephen Whittington "Music Technology Forum - Week 5 - Pierre Henry." Lecture presented at the Electronic Music Unit, University of Adelaide, South Australia, 3/04/2008.
This week we were shown a video of Pierre Henry, one of the godfathers of avant-garde electronic music and Musique concrète.
The film was called "The Art of Sound", Directed and Written by Eric Darmon & Franck Mallet.
The most interesting part for me was Henry's appreciation for a) being creative and b)sound.
Following the film, Stephen played few excerpts of Henry's works, but to be honest the film and the environment in which Henry was/is working was more impressive for me.
The question that came to my mind while watching the film (and I can recall of other similar situations too) was the link (or rather HOW to link) influences and a work of art.It often happens that artists are influenced by elements outside their respective field of art. Taking Henry as an example, -according to Stephen- in one of his projects, he was influenced by Tibetan sacred literature. I guess one of the most important parts of education, particularly in universities, is to teach the ways of "being able to materialise ideas and influences". Not to mention it would not happen without a vision of financial survival as well!
Anyway, back to Monsieur Henry.. It was actually one of the first times I really enjoyed musique concrète! I think this IS the influence of the EMU.
PS: The photo is a futuristic representation of EMU Recording Space
References:
- Stephen Whittington "Music Technology Forum - Week 5 - Pierre Henry." Lecture presented at the Electronic Music Unit, University of Adelaide, South Australia, 3/04/2008.
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