For my final assignment, I decided to submit the melody created by the gadget I made in my Interactive Objects class.
My Interactive Object consists of a modified servo motor mounted above a plywood square, with a pulse-width modulator to manipulate the motor speed. The motor turns a rod arm with weights suspended from each end. As the arm turns, the weights strike a series of shot glasses and copper pipe fittings.
My idea first came for this assignment in my Interactive Objects class when I had decided to take a more mechanical approach in my exploration of sound.
Overall, I think the music-making part of the object turned out well enough. The idea could be further developed by adding greater ability to manipulate the melody by being able to move the glasses. I glue-gunned the glasses to the board because I was paranoid about them breaking, which probably affected some of the sounds.
Click Here to Listen
Thursday, April 17, 2008
Thursday, April 3, 2008
Dino Sound Assignment
This week I tried to create the sound of a wild animal hunting prey in the wild somewhere.
The sounds I collected consisted of dogs barking, chirping birds, and I also tried to create some folley style sound effects with some straw (to simulate rustling grass) and some gloves I had lying around (to simulate the flapping bird wings). I also picked up the sound of water running under a manhole in Confederation Park as well as some of the filters to augment the dog barks to make the dogs sound bigger than they actually were.
To be honest, I do not think that I am very satisfied with of this assignment. The piece most certainly could have been longer, but I was also hoping to record some other animal sounds to further augment the barks and chirps.
Click here to listen.
The sounds I collected consisted of dogs barking, chirping birds, and I also tried to create some folley style sound effects with some straw (to simulate rustling grass) and some gloves I had lying around (to simulate the flapping bird wings). I also picked up the sound of water running under a manhole in Confederation Park as well as some of the filters to augment the dog barks to make the dogs sound bigger than they actually were.
To be honest, I do not think that I am very satisfied with of this assignment. The piece most certainly could have been longer, but I was also hoping to record some other animal sounds to further augment the barks and chirps.
Click here to listen.
Wednesday, March 19, 2008
List of Numbers Assignment
Just hot off the heels of MaxMSP assignment, I was asked this week to do a composition based on a list of numbers. What I eventually settled upon was reciting pi to 150 decimal places.
What I did for this piece was record each number separately and arrange them in Audacity. After that, I changed the tempo of the composition as well as add a WahWah, Echo, and Reverb filter. I also faded out the last five digits at the end to try and imply that, since pi is an irrational number, a sense that piece could never really end.
To be honest, aside from my pronunciation of six and nine (which could use improvement), I don't have much to say about this piece.
Click here to listen.
What I did for this piece was record each number separately and arrange them in Audacity. After that, I changed the tempo of the composition as well as add a WahWah, Echo, and Reverb filter. I also faded out the last five digits at the end to try and imply that, since pi is an irrational number, a sense that piece could never really end.
To be honest, aside from my pronunciation of six and nine (which could use improvement), I don't have much to say about this piece.
Click here to listen.
Tuesday, March 11, 2008
MaxMSP Assignment
When I first started using MaxMSP, I found that it was very similar to the Analog Box in that both programs work by selecting different devices in the form of graphic icons and connecting them together to create a new device.
However, it also meant that I had much of the same problems I had with Analog Box 2. That is there were eleventy-billion different gadgets in each program, and it wasn't entirely clear what all of them did. Fortunately, once I studied the tutorials further and sought out assistance from Mr. Dugas, this project became a lot easier.
What I really wanted to accomplish with this project was to compose my own piece of music. I was able to do this to an extent by using assigning pitch to the table function.
Click here to listen
The text of my patch is as follows:
However, it also meant that I had much of the same problems I had with Analog Box 2. That is there were eleventy-billion different gadgets in each program, and it wasn't entirely clear what all of them did. Fortunately, once I studied the tutorials further and sought out assistance from Mr. Dugas, this project became a lot easier.
What I really wanted to accomplish with this project was to compose my own piece of music. I was able to do this to an extent by using assigning pitch to the table function.
Click here to listen
The text of my patch is as follows:
max v2;
#N vpatcher 32 43 939 571;
#P origin 262 125;
#P window setfont "Sans Serif" 9.;
#P window linecount 1;
#P hidden message 823 193 64 9109513 controllers;
#P hidden newex 823 172 52 9109513 loadbang;
#P hidden newex 823 212 45 9109513 midiinfo;
#P message 893 236 52 9109513 stop;
#P button 893 202 15 0;
#P message 893 219 52 9109513 start 512;
#P message 893 253 52 9109513 record;
#P message 893 287 52 9109513 delay 0;
#P message 893 304 52 9109513 print;
#P message 893 348 52 9109513 write;
#P newex 783 369 86 9109513 seq midisamp.midi;
#B color 5;
#P message 893 323 52 9109513 read;
#P button 887 440 15 0;
#P newex 783 424 50 9109513 midiout;
#P newex 771 263 50 9109513 midiin;
#P user umenu 770 241 95 9109543 1 64 257 0;
#X add "Creative SB Live! External MIDI";
#P user uslider 512 191 23 97 128 1 0 0;
#P user uslider 254 173 23 97 128 1 0 0;
#P user uslider 11 147 23 97 128 1 0 0;
#P button 126 111 15 11;
#P user uslider 126 147 23 97 128 1 0 0;
#P user led 637 186 17 17 2 150;
#P user uslider 724 -18 14 119 501 1 0 0;
#P number 724 125 35 9 50 900 3 139 0 0 0 221 221 221 222 222 222 0 0 0;
#P newex 676 157 58 9109513 metro 100;
#N counter 6 0 127;
#X flags 0 0;
#P newobj 676 185 83 9109513 counter 6 0 127;
#N vtable 128 20 74 230 241 0 128 table21a;
#P newobj 676 209 74 9109513 table table21a;
#P user dial 676 404 40 40 128 1 0 0 159 270 1 1. 170 170 170 221 221 221 120 120 120 225 225 225 0 0 0 0 0 0;
#P number 676 452 35 9 0 127 3 139 0 0 0 221 221 221 222 222 222 0 0 0;
#P hidden newex 676 477 51 9109513 pgmout 3;
#P newex 676 375 52 9109513 noteout 3;
#P newex 676 345 88 9109513 makenote 60 420;
#P toggle 572 76 32 0;
#P hidden newex 572 149 45 9109513 s toggle;
#P window setfont Impact 36.;
#P comment 238 10 280 14680100 Jordan's machine;
#B color 6;
#P user panel 223 -2 295 66;
#X brgb 247 193 51;
#X frgb 0 0 0;
#X border 1;
#X rounded 0;
#X shadow 0;
#X done;
#P window setfont "Sans Serif" 12.;
#P window linecount 2;
#P comment 285 68 227 9109516 Behold the fruit's of my labours of learning the MaxMSP program.;
#P window setfont "Sans Serif" 9.;
#P window linecount 1;
#P hidden newex 11 23 45 9109513 r toggle;
#P user swatch 238 403 227 82;
#P user dial 512 405 40 40 127 1 0 0 159 270 1 1. 170 170 170 221 221 221 120 120 120 225 225 225 0 0 0 0 0 0;
#P number 512 452 35 9 0 127 3 139 0 0 0 221 221 221 222 222 222 0 0 0;
#P hidden newex 512 477 51 9109513 pgmout 5;
#P number 512 310 35 9 0 0 4096 139 0 0 0 221 221 221 222 222 222 0 0 0;
#P button 512 171 15 14;
#P newex 512 369 52 9109513 noteout 5;
#P newex 512 336 94 9109513 makenote 127 800;
#P toggle 254 111 15 0;
#P button 11 111 15 3;
#P user led 435 220 17 17 4 150;
#P newex 376 255 64 9109513 random 100;
#P button 376 227 15 6;
#P number 376 288 35 9 0 0 4096 139 0 0 0 221 221 221 222 222 222 0 0 0;
#P newex 376 356 66 9109513 noteout 10;
#P newex 376 332 99 9109513 makenote 127 400;
#P number 254 300 35 9 0 0 4096 139 0 0 0 221 221 221 222 222 222 0 0 0;
#P button 254 153 15 2;
#P newex 512 149 58 9109513 metro 400;
#P newex 254 131 73 9109513 pipe 0 10 600;
#P button 153 78 22 0;
#P number 282 256 35 9 0 0 0 139 0 0 0 221 221 221 222 222 222 0 0 0;
#P newex 282 234 40 9109513 notein;
#P newex 254 356 52 9109513 noteout 4;
#P newex 254 332 99 9109513 makenote 127 400;
#P newex 180 -20 104 9109513 scale 0 127 50 1000;
#P number 180 7 34 9 50 1000 3 139 0 0 0 221 221 221 222 222 222 0 0 0;
#P newex 180 -47 39 9109513 ctlin;
#P user dial 126 408 40 40 128 1 0 0 159 270 1 1. 170 170 170 221 221 221 120 120 120 225 225 225 0 0 0 0 0 0;
#P number 126 456 35 9 0 127 3 139 0 0 0 221 221 221 222 222 222 0 0 0;
#P hidden newex 126 481 47 9109513 pgmout 2;
#P user dial 11 408 40 40 128 1 0 0 159 270 1 1. 170 170 170 221 221 221 120 120 120 225 225 225 0 0 0 0 0 0;
#P newex 179 296 27 9109513 + 2;
#P newex 147 296 27 9109513 + 10;
#P newex 126 51 64 9109513 metro 800;
#P number 126 268 35 9 0 0 4096 139 0 0 0 221 221 221 222 222 222 0 0 0;
#P newex 126 380 47 9109513 noteout 2;
#P newex 126 346 99 9109513 makenote 127 200;
#P hidden newex 238 494 100 9109513 bgcolor 100 100 50;
#P newex 60 296 27 9109513 - 2;
#P newex 24 296 31 9109513 + 12;
#P number 11 456 35 9 0 127 3 139 0 0 0 221 221 221 222 222 222 0 0 0;
#P hidden newex 11 481 51 9109513 pgmout 1;
#P newex 11 79 58 9109513 metro 200;
#P number 11 268 35 9 0 0 4096 139 0 0 0 221 221 221 222 222 222 0 0 0;
#P newex 11 380 47 9109513 noteout 1;
#P newex 11 346 88 9109513 makenote 77 200;
#P window linecount 3;
#P comment 75 -47 100 9109513 Use the modulation dial on the keyboard to change the tempo;
#P window linecount 2;
#P comment 544 111 100 9109513 Click the switch to listen to something.;
#P window setfont "Sans Serif" 12.;
#P window linecount 1;
#P comment 257 383 188 9109516 Pick a colour \, any colour. . .;
#P window setfont "Sans Serif" 9.;
#P comment 1 492 338 9109513 The dials on the bottom all manipulate the diferent instruments that play.;
#P window linecount 3;
#P comment 282 192 68 9109513 The keyboard keys can be used here.;
#P hidden connect 52 0 8 0;
#P fasten 17 0 8 0 131 74 16 74;
#P connect 8 0 42 0;
#P connect 42 0 71 0;
#P connect 71 0 7 0;
#P connect 7 0 5 0;
#P fasten 12 0 5 0 65 332 16 332;
#P fasten 11 0 5 0 29 332 16 332;
#P connect 5 0 6 0;
#P connect 20 0 10 0;
#P hidden connect 10 0 9 0;
#P fasten 7 0 11 0 16 292 29 292;
#P connect 5 1 6 1;
#P fasten 7 0 12 0 16 292 65 292;
#P hidden fasten 52 0 17 0 16 46 131 46;
#P connect 17 0 70 0;
#P connect 70 0 69 0;
#P connect 69 0 16 0;
#P connect 16 0 14 0;
#P fasten 19 0 14 0 184 332 131 332;
#P fasten 18 0 14 0 152 332 131 332;
#P connect 14 0 15 0;
#P connect 23 0 22 0;
#P hidden connect 22 0 21 0;
#P connect 14 1 15 1;
#P fasten 16 0 18 0 131 292 152 292;
#P fasten 17 0 31 0 131 74 158 74;
#P fasten 16 0 19 0 131 292 184 292;
#P connect 24 0 26 0;
#P connect 26 0 25 0;
#P connect 25 0 17 1;
#P hidden connect 51 0 13 0;
#P fasten 31 0 43 0 158 104 259 104;
#P connect 43 0 32 0;
#P connect 32 0 34 0;
#P connect 34 0 72 0;
#P connect 72 0 35 0;
#P fasten 30 0 35 0 287 292 259 292;
#P connect 35 0 27 0;
#P connect 27 0 28 0;
#P connect 27 1 28 1;
#P connect 29 0 30 0;
#P hidden fasten 32 1 39 0 322 220 381 220;
#P connect 39 0 40 0;
#P connect 40 0 38 0;
#P connect 38 0 36 0;
#P connect 36 0 37 0;
#P connect 36 1 37 1;
#P hidden fasten 39 0 41 0 381 246 412 246 412 208 440 208;
#P hidden fasten 52 0 33 0 16 46 517 46;
#P fasten 31 0 33 0 158 104 517 104;
#P connect 33 0 46 0;
#P connect 46 0 73 0;
#P connect 73 0 47 0;
#P connect 47 0 44 0;
#P connect 44 0 45 0;
#P connect 50 0 49 0;
#P hidden connect 49 0 48 0;
#P connect 44 1 45 1;
#P hidden connect 57 0 56 0;
#P fasten 65 0 68 0 681 180 642 180;
#P hidden fasten 57 0 65 0 577 144 681 144;
#P connect 65 0 64 0;
#P connect 64 0 63 0;
#P connect 63 0 58 0;
#P connect 58 0 59 0;
#P connect 62 0 61 0;
#P hidden connect 61 0 60 0;
#P connect 58 1 59 1;
#P hidden fasten 57 0 64 2 577 144 741 144 741 179 717 179;
#P connect 67 0 66 0;
#P connect 66 0 65 1;
#P hidden connect 87 0 74 0;
#P hidden fasten 74 1 75 0 860 260 776 260;
#P fasten 75 0 79 0 776 359 788 359;
#P connect 86 0 79 0;
#P connect 84 0 79 0;
#P connect 83 0 79 0;
#P connect 82 0 79 0;
#P connect 85 0 79 0;
#P connect 81 0 79 0;
#P connect 80 0 79 0;
#P connect 78 0 79 0;
#P connect 79 0 76 0;
#P hidden connect 88 0 89 0;
#P hidden connect 89 0 87 0;
#P connect 79 1 77 0;
Listening Questions
Here are my answers to a questionaire my sound teacher emailed to me. More answers coming soon.
I think my earliest memories of sound were of a television in a faraway room.
When it's cold out, or when I'm just did a strenuous activity.
I believe attention is ...
Not actively, but when I do hear sound in my dreams, it is usually limited to speech.
Anytime my stomach growls when I am hungry.
It is hard to say since I am not that good at estimating distances. About from 30 to 40 ft depending on the sound.
When my attention is diverted elsewhere.
My favourite sound is the sound of either an inkjet or laser printer makes as it prints a document. The sound is usually quiet enough not to draw too much attention to itself, and the actual sound itself changes often enough not
The soundscape of the walk home consists of the faint bells from the C-train,
I believe that a soundscape is created by the action and activity of the people/objects in a certain area.
LISTENING QUESTIONS
from: Deep Listening: A Composer's Sound Practice by Pauline Oliveros
1.What is your earliest memory of sound? How do you feel about it now?
I think my earliest memories of sound were of a television in a faraway room.
2. When do you notice your breath?
When it's cold out, or when I'm just did a strenuous activity.
3. What is attention?
I believe attention is ...
4. Can you imagine composing or improvising a piece based on breath rhythms?
5. What sound reminds you of home?
6. Do you listen for sound in your dreams? What do you hear? How does it affect you?
Not actively, but when I do hear sound in my dreams, it is usually limited to speech.
7. The distinguished historian, Wiliam H. McNeil, has recently argued in his book Keeping Together in Time that "coordinated rhythmical activity is fundamental to life in society." Can you imagine tracking a rhythm
pattern in your daily life and writing about it?
8. Can you imagine rhythm pattern for the rhythm circle with your own form of notation?
9. Can you imagine composing or improvising a piece for voices using attention patterns?
10. What is sound?
11. What is listening?
12. What action(s) is usually synchronized with sound?
13. When do you feel sound in your body?
Anytime my stomach growls when I am hungry.
14. What sound fascinates you?
15. What is a soundscape?
16. What are you hearing right now? How is it changing?
17. How many sounds can you hear all at once?
18. How far can you hear sounds?
It is hard to say since I am not that good at estimating distances. About from 30 to 40 ft depending on the sound.
19. Are you sure that you are hearing every thing that is to hear?
20. What more could you hear if you had bigger ears? (or smaller)
21. Can you hear more sounds if you are quiet? How many more?
22. How long can you listen?
23. When are you not listening?
24. Can you not listen when something is sounding?
25. Try not listen to anything. What happens?
26. How can you not listen if your ears never close?
When my attention is diverted elsewhere.
27. What meaning does any sound have for you?
28. What is favourite sound? How is it made? When can you hear it? Are you hearing it now?
My favourite sound is the sound of either an inkjet or laser printer makes as it prints a document. The sound is usually quiet enough not to draw too much attention to itself, and the actual sound itself changes often enough not
29. What is the soundscape of the space you are now occupying?
The soundscape of the walk home consists of the faint bells from the C-train,
30. How is the soundscape shaped? or what makes a soundscape?
I believe that a soundscape is created by the action and activity of the people/objects in a certain area.
31. What is the soundscape of your neighborhood?
32. What is the soundscape of your city?
33. How many different soundscapes can you imagine?
34. What would you like to have in your own soundscape?
35. What would you record to represent your soundscape?
36. What sound makes you speculative?
37. What sounds gives you chills?
38. What sound ruffles your scalp?
39. What sound changes your breathing?
40. What sound would you like whispered in your ear?
Wednesday, February 6, 2008
Freeware Audio Software
The assignment for this week's class is to download a freeware program from the site databaseaudio, make something with it, and blog about the results here. For this assignment, I decided to play around with two different programs described below.
Analog Box 2 is, as the website describes, a "low level, circuit based, modular software synthesizer." Sounds are made by right clicking to select components and connecting them together in circuits much in the same way as electronic components. I used one of the tutorials provided to create a FM Synthesizer. (There was also a MIDI tutorial provided, but I didn't get very far into it.) Overall, the layout seems simple at first glance, but the functions of each button weren't always obvious at first glance. (The fact that there were onlyu two tutorials written didn't help matters either.)
Hydrogen, is an electronic drum-kit simulator provided from this site. In this program, I arrange beats from a list of different instruments and use them to compose different soundtracks. I found this program much easier to use, and very good for what it is trying to do.
Click here to listen.
Analog Box 2 is, as the website describes, a "low level, circuit based, modular software synthesizer." Sounds are made by right clicking to select components and connecting them together in circuits much in the same way as electronic components. I used one of the tutorials provided to create a FM Synthesizer. (There was also a MIDI tutorial provided, but I didn't get very far into it.) Overall, the layout seems simple at first glance, but the functions of each button weren't always obvious at first glance. (The fact that there were onlyu two tutorials written didn't help matters either.)
Hydrogen, is an electronic drum-kit simulator provided from this site. In this program, I arrange beats from a list of different instruments and use them to compose different soundtracks. I found this program much easier to use, and very good for what it is trying to do.
Click here to listen.
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