Tech Talk n Music

UNI2008

2008-03-27T06:01:00.011+10:30

1) Single Studies with Jim

2) Creative Computing with Christian :

.~

2008-02-26T14:49:00.004+10:30

Graduation Day, 13Dec'07

2008-01-22T15:54:00.001+10:30

End of year concert

2008-01-22T14:58:00.000+10:30

Ear Poke 2007 : EMU end of year concert
For me probably end of uni concert.. What went wrong.. ??? The sound guy knew everything he was doing.. !! I wonder why did he put me first to the stage mixing desk and then to the main mixing desk.When I had nothing to do with stage, my setup was at the side of it. For what i think , the levels on the stage mixer were totally down, it was only the bleed which was coming through,,thanks to the age of our Studio 5 mixer.. While i was pushing the levels up from my mixer in the performance, the only thing got raised was distortion.. I dont intented to be a noise artist,however i think alot of times i have fallen into those categories.. Thanks to supercollider and my feedback engine patch, as Moira calls it " Force Field of Sound"..
I have the recording but the audio is crappy, since it was recorded from the video camera's inbuilt microphone..I dont think the concert was recorded.. Did it ?

Emu jam : This was interesting but I did not feel any bond .. I could not even hear anything as soon as I started playing.. I had no monitors, because of the laziness of some organisers. They didnt wanted to move the drum monitor from the stage. I wonder why do they do that, is it lack of understanding that its important to listen or is it a kind of unthoughtful power game or just ignorance. When I ask somehting there is a reason behind it, I am not asking it to complicate the setup. Whats complicate anyway, something which one does not understand, once you know it , its all cool.. Its very easy to sit down infront of a computer in a performace and do a playback piece or rather use another performer to play in automated settings. wonder what did you do, smiled, waived and went away...
Anyway there is a life beyond uni and I am going to start that now. Thanks to everyone for their love and support, knowledge and wisdom , memories and great times..I will always remember you all. Take care and good luck for everything you guys do..

Projects

2007-11-16T11:14:00.000+10:30

Audio Arts : Sound Design for Films..
What is Music ? <<<<< Film by Daniel Murtagh <<<< Music & Sound Design by Vinny Bhagat

Creative Computing : Programming with SuperCollider..
click here to download the project file..

Now when thinking about this project, I am wondering have I succefully completed it..? I really dont know, depends what you call success is. The amount of time I put into this did not yield the outcome I would have expected. I have certainly come to know a new language, a new tool to construct sounds, music. My programming skills definately came in between my ideas and thier implimentation. Disappointment is there , towards the end I could not handle all this information properly. I am waiting to see what christian has to say about it..

Week 12

2007-10-30T13:31:00.000+10:30

Creative Computing : Spatialisation

Materials for the week

* Mix.rtf : Mixes an array of channels down to a single channel or an array of arrays of channels down to a single array of channels.

// Mix an array of channels
{ Mix.new([ ClipNoise.ar(0.2), FSinOsc.ar(440, 0.1), LFSaw.ar(20, 0.1)]) }.play;

( // fill an array of channels
{
n = 18; // number of voices
Mix.fill(n, { SinOsc.ar(50 + 500.0.rand, pi, 0.05) });
}.play;
)

* MultiOutUGen.rtf : A superclass for all UGens with multiple ouptuts.MultiOutUGen creates the OutputProxy ugens needed for the multiple outputs.

* OutputProxy.rtf : A place holder for multiple outputs,sometimes used by Ugens.
// Pan2 uses an OutputProxy for each of its two outputs.
({
var out;
out = Pan2.ar(WhiteNoise.ar, SinOsc.kr(0.5));
out}.play;
)
* BiPanB2.rtf : Encodes a two channel signal to two dimensional ambisonic B-format.This puts two channels at opposite poles of a 2D ambisonic field.This is one way to map a stereo sound onto a soundfield.It is equivalent to:
PanB2(inA, azimuth, gain) + PanB2(inB, azimuth + 1, gain)
BiPanB2.kr(inA, inB, azimuth, gain)
{
var w, x, y, source1, source2, a, b, c, d;

source1 = SinOsc.ar(200);
source2 = SinOsc.ar(202);

// B-format encode
#w, x, y = BiPanB2.ar(inA: source1,
inB: source2,
azimuth: MouseX.kr(-1,1),
gain: 0.1);

// B-format decode to quad
#a, b, c, d = DecodeB2.ar(numChans: 4,
w: w,
x: x,
y: y
);
[a, b, d, c] // reorder to speaker arrangement: Lf Rf Lr Rr
}.play;

* DecodeB2.rtf : 2D Ambisonic B-format decoder.Decode a two dimensional ambisonic B-format signal to a set of speakers in a regular polygon.The outputs will be in clockwise order. The position of the first speaker is either center or left of center.
( // Theremin model
{
var theremin, w, x, y, a, b, c, d;

theremin = SinOsc.ar(freq: MouseY.kr(3200, 200, lag: 0.5, warp: 1)
*
SinOsc.kr(freq: 6, mul: 0.02, add: 1), // Vibrato
mul: abs(MouseX.kr(0.02, 1))
); //Amplitude

// B-format encode
# w, x, y = PanB2.ar(in: theremin,
azimuth: SinOsc.kr(2* pi),
gain: 0.5
);

// B-format decode to quad
#a, b, c, d = DecodeB2.ar(numChans: 4,
w: w,
x: x,
y: y
);

[a, b, d, c] // reorder to speaker arrangement: Lf Rf Lr Rr
}.play;
)
* LinPan2.rtf : Two channel linear panner.
"Sounds more like the Rhodes tremolo than Pan2."
{ Out.ar(0, LinPan2.ar(VarSaw.ar([200, 201], pi, 0.1), SinOsc.kr(1))) }.play;

* LinXFade2.rtf : Two channel linear crossfader.
{ LinXFade2.ar(FSinOsc.ar([800,804], 0, 0.2), VarSaw.ar(0.2), FSinOsc.kr(pi)) }.play;
* Pan2.rtf : Two channel equal power panner.
(
{Pan2.ar( //pan position
FSinOsc.ar(exprand(700, 2000), 0,
max(0, LFNoise1.kr(3/5, 0.9))),
LFNoise1.kr(1))
}.play(s)
)
* Pan4.rtf : Four channel equal power panner.
( // phone ring
{
var lfo,in;
lfo = LFPulse.ar(freq: 15, mul: 200, add: 1000);
in = SinOsc.ar(lfo, mul: 0.5);
in = Pan4.ar(in, SinOsc.kr(2), VarSaw.kr(1.2),1);
}.play
)
* PanAz.rtf : Azimuth panner : Multichannel equal power panner.
Server.internal.boot;
(
{
var trig, out, delay;
trig = Impulse.kr(freq: 10);
out = Blip.ar(
freq: TRand.kr(0, 50, trig).midicps,
numharm: TRand.kr(1, 12, trig),
mul: max(0, TRand.kr(-0.5, 0.4, trig))
);
out = Pan2.ar(in: out,
pos: TRand.kr(-1.0, 1.0, trig)
);

out = out * EnvGen.kr(Env.perc(attackTime: 0,
releaseTime: 1),
gate: trig
);
out = Mix.ar({out}.dup(12))*0.2;
delay = CombL.ar(in: out,
maxdelaytime: 2.0,
delaytime: 4/6,
decaytime: 0.1
);
out = out + delay;

// five channel circular panning
PanAz.ar(
numChans: 5,
in: out,
pos: LFSaw.kr(MouseX.kr(0.1, 10, 'exponential')),
level: 0.5,
width: 3
);
}.play(Server.internal);
Server.internal.scope;
)

* PanB.rtf : Ambisonic B format panner.decodes over 4 channels.
* PanB2.rtf : 2D Ambisonic B-format panner. Encodes a mono signal to two dimensional ambisonic B-format.
* Rotate2.rtf : Rotates a sound field : Rotate2.kr(x, y, pos)
Rotate2 can be used for rotating an ambisonic B-format sound field around an axis.It does an equal power rotation so it also works well on stereo sounds.It takes two audio inputs (x, y) and an angle control (pos).It outputs two channels (x, y).
It computes this:
xout = cos(angle) * xin + sin(angle) * yin;
yout = cos(angle) * yin - sin(angle) * xin;
where angle = pos * pi, so that -1 becomes -pi and +1 becomes +pi.

* SelectX.rtf : =Mix one output from many sources
The output is mixed from an array of inputs, linearly interpolating from two adjacent channels.

* SelectXFocus.rtf : Mix one output from many sources.

The output is mixed from an array of inputs, linearly interpolating from a number of adjacent channels.A focus argument allows to control how many adjacent sources are mixed. (by adc)

* Splay.rtf : Splay spreads an array of channels across the stereo field.
* SplayZ.rtf : SplayZ spreads an array of channels across a ring of channels.
* XFade2.rtf : Equal power two channel cross fade.
* Select.rtf : Select one output from many sources.

References :

* Haines.Christian."Workshop-12-sem2, conducted on Spatialisation .Programming with SuperCollider".25 October'2007.Electronic Music Unit.University of Adelaide, South Australia.
* McCartney , James et al . 2007,SuperCollider Inbuilt Help.
* Source Forge, http://supercollider.sourceforge.net/

Audio Arts : Film Sound
Class Notes:
* Sourround Sound in Film
*Dialogue; To be crystal clear in the mix. You could filter out the music/ frequencies from the range of 600Hz till 3Khz, from the mix so that the dialogue becomes clear.
Ducking : It is an effect where the level of one signal is reduced by the presence of another signal, through the use of side chain compression.
Side-chaining uses the dynamic level of another input to control the compression level of the signal.
* THX ( Tomlinson Holman's experiment )is the trade name of a high-fidelity sound reproduction standard for movie theaters, screening rooms, home theaters, computer speakers, gaming consoles, and car audio systems.Itwas developed by Tomlinson Holman at George Lucas's company Lucasfilm in 1982 .THX is mainly a quality assurance system, a playback environment to ensure that any film soundtrack mixed in THX will sound as near as possible to the intentions of the mixing engineer.

(Dolby Digital, SDDS) or analog (Dolby SR, Ultra-Stereo), can be "shown in THX.

References:
Harrald.Luke.2007.Audio Arts 3.Film Sound.Electronic Music Unit.University of Adelaide, South Australia.
* http://en.wikipedia.org/wiki/THX ,viewed on 31.Oct'07
* http://www.thx.com, viewed on 31.Oct'07

Week 11

2007-10-22T10:38:00.000+09:30

Creative Computing : FFT(2)

Keywords :
* Josh_PV_Ugens
PV_EvenBin : Returns the even numbered bins in an FFT buffer, resynthesize only even bins. Similarly PV_OddBin resynthesize only odd bins
PV_FreqBuffer(buffer, databuffer) : stores the freq values from an FFT analysis into a buffer to be used outside the FFT process
databuffer - a buffer of (fft buffer size / 2) for storing freq or mag data in
PV_Invert :
PV_MagBuffer(buffer, databuffer) : Store FFT data in another buffer for other uses.
databuffer - a buffer of (fft buffer size / 2) for storing freq or mag data in
PV_MagMap : Remap magnitudes to a new mag curve
PV_MaxMagN : return the N strongest bins
PV_MinMagN : return the N weakest bins
PV_NoiseSynthF : Decisions are based on whether or not freq data across numFrames is within a given threshold.return only bins that are unstable.
PV_NoiseSynthF(buffer, threshold, numFrames)
PV_NoiseSynthP : PV_NoiseSynthP and PV_PartialSynthP base these decisions on whether or not phase data across numFrames is within a given threshold.
buffer - the FFT buffer
threshold - a phase value (in radians) with which to allow values to pass through or be zeroed out
numFrames - the number of FFT frames needed to make the above decision
initflag - if 0, all bins are zeroed out while the initial is calculated, if 1, all bins pass through.

PV_OddBin : Return the odd numbered bins in an FFT buffer

MCLD Ugens

CQ_Diff : Logarithmic spectral difference measure.
CQ_Diff.kr(in1, in2, databufnum)
FFTDiffMags: Compares the spectra of two signals, finding the magnitude of the difference for each frequency bin. These differences are averaged onto the (control-rate) output.
FFTDiffMags.kr(chain1, chain2)

FFTFlatness : Calculates the Spectral Flatness Measure, defined as a power spectrum's geometric mean divided by its arithmetic mean. This gives a measure which ranges from approx 0 for a pure sinusoid, to approx 1 for white noise.
FFTFlatnessSplitPercentile : Splits the FFT power spectrum into two parts - above and below a given percentile and then calculates the spectral flatness measure for the two parts of the spectrum.
# lower, upper = FFTFlatnessSplitPercentile.kr(chain, fraction)
FFTFlux : Calculates the spectral flux of the signal, which is a measure of the rate of change of the FFT power spectrum. It measures the difference between the current and previous FFT frames, by calculating the 2-norm (the Euclidean distance between the two spectra) after normalising for power.
FFTInterleave : Takes two FFT "chain" signals and mixes them together. The FFT data is not actually combined, rather the trigger signals which indicate that a new FFT buffer is ready for processing are combined. The first chain takes priority: if both chains fire at the same time, then the frame from the second will be ignored.
FFTPercentile : Calculates the cumulative distribution of the frequency spectrum, and outputs the frequency value which corresponds to the desired percentile.
FFTPower : Sum of instantaneous FFT magnitudes.Operates on the frequency-domain rather than time-domain representation.
FFTSubbandPower : Calculates the spectral power measure, in the same manner as FFTPower, but divides the spectrum into (adjacent, non-overlapping) subbands, so returns separate power measures for the different subbands.
#[power1, power2, ... powerN+1] = FFTSubbandPower.kr(chain, [cutfreq1, cutfreq2, ... cutfreqN], incdc)
FFTTriggered : Based on [FFT], but analyses the signal only when triggered, rather than in a continuous sequence. The point is to be able to synchronise analysis windows exactly with trigger signals. Its purpose is for spectral analysis rather than "phase vocoder" manipulation, since IFFT typically won't be able to reconstruct a continuous audio signal.
chain = FFTTriggered(buffer, input, trig, maxoverlap=0.5)
FincoSprottL : chaotic system UGen
FincoSprottM : chaotic system UGen
FincoSprottS : chaotic system UGen
ListTrig : Emit a sequence of triggers at specified time offsets
Logger : Store values to a buffer, whenever triggered
RosslerL : A strange attractor discovered by Otto Rossler based on work in chemical kinetics.
The system is composed of three ordinary differential equations:

x' = - y - z
y' = x + ay
z' = b + z(x - c)

Readings :
More Simple Chaotic Flows with ABS Nonlinearity : http://sprott.physics.wisc.edu/chaos/finco/abs.html
some of the examples might use the FFT plugins from the library of Bhob Rainey
http://bhobrainey.net

Referenes:
* Haines.Christian."Workshop-11-sem2 conducted on Fast fourier Transform .Programming with SuperCollider".18 October'2007.Electronic Music Unit.University of Adelaide, South Australia.
* Parmenter, Josh 2007, JoshPV SuperCollider Library, 2007,
* Stowell, Dan. 2007, Signal Analysis - SuperCollider Plugins - MCLD UGens, 2007,
* IXI Tutorial 10 on FFT. www.ixi-software.net
* McCartney , James et al . 2007,SuperCollider Inbuilt Help.
* Source Forge, http://supercollider.sourceforge.net/

Audio Arts : Film Music
This week was presenting a draft for our alloted films. If you are not aware, I am doing the film made by Dan. I like the feel and question raised in the film, " What is Music". So far I have added the background track and the audio present with the video. I somehow like the minimalist characterstic to what I presented. After spending a bit more time on the musical ideas, I thought they are not really required. After adding the foley sounds the film can have a quite a different and unique characterstic to it. I do want to implement a paced motive when the car scecne comes up. Ther are two interviews in the film with a little more voice to be added on. The sound design work has to be quite precise and effective. Thats where i am .. What is Music : -- succesfully conveying the idea across and convincing the listener that this is music - Mark carrol ..

Week 10

2007-10-17T20:56:00.000+09:30

Creative Computing : GUI(3)

Keywords and lecture Notes:
* BoxGrid.help.rtf :
* Grid.help.rtf :
* MIDIKeyboard.help.rtf :
* ParaSpace.help.rtf :
* ScrollNumberBox.help.rtf :
* Software, IXI 2006, Experimental Music Software -
Backyard, IXI, 2007... www.ixi-software.net

Task of the Week:
===================================================================
/*
VarSaw : Variable duty saw
Lag2 : It is equivalent to Lag.kr(Lag.kr(in, time), time), thus resulting in a smoother transition. This saves on CPU as you only have to calculate the decay factor once instead of twice.
*/
// Sound Source
(
SynthDef("saw+tri",{|freq, amp=0.90|

var signal,
signal1;

signal = VarSaw.ar(Lag2.kr(freq, 60.1), 0, amp)!2;
signal1 = LFTri.ar(Lag3.kr(freq, 62.1), 0, amp)!2;
signal = (signal * signal1) ;
Out.ar(0, signal);
}).load(s);
)
/* List is a subclass of SequenceableCollection with unlimited growth in size.
SCWindow : User interface Window
ParaSpace is a GUI widget, similar to the SCEnvelopeView, but has some
additional functionality and it is easier to use. One can select many nodes
at the same time and drag them around.
A Synth is the client-side representation of a synth node on the server. It represents a single sound producing unit.
*/
// Set up the ParaSpace
(
l = List.new;
w = SCWindow("ParaSpace", Rect(10, 500, 800, 300));
a = ParaSpace.new(w, bounds: Rect(20, 20, 760, 260));

76.do({arg i;
a.createNode(3+(i*10), 130);
l.add(Synth("saw+tri", [\freq, 150, \amp, 0.04])); // starting frequency
});
75.do({arg i;
a.createConnection(i, i+1);
});

/* Task is a pauseable process. It is implemented by wrapping a PauseStream around a Routine. Most of it's methods (start, stop, reset) are inherited from PauseStream.
SystemClock is more accurate, but cannot call Cocoa primitives.
AppClock uses NSTimers but is less accurate,it can call Cocoa primitives.
*/
t = Task({
var d;
inf.do({arg i;
76.do({arg j;
d = ((i*(j/100)).sin*120)+130;
a.setNodeLoc_(j, 3+((j%76)*10), d);
l[j].set(\freq, 500+(400 - (d*4))); // emerging frequency,travelling range
});
0.25.wait;
})
}, AppClock);
t.start;
)
t.stop;
===========================================================

References : Referenes:
* Haines.Christian."Workshop-10-sem2 conducted on GUI(3) .Programming with SuperCollider".11 October'2007.Electronic Music Unit.University of Adelaide, South Australia.
* IXI softwares, www.ixi-software.net
* McCartney , James et al . 2007,SuperCollider Inbuilt Help.
* Source Forge, http://supercollider.sourceforge.net/

Week 9

2007-10-09T22:47:00.000+09:30

Creative Computing : GUI(2)
Keywords for the Week:
* Color : Each component has a value from 0.0 to 1.0 except in new255 :
Color.new(red, green,blue, alpha), Color.rand(hue, sat, val, alpha)
* Document: Opens up a text document.Document(title, text, isPostWindow);
background_set the background color of a Document
(
a = Document("background", "'documentwindow");
a.background_(Color.blue(alpha:0.8));
)

* Font : command-T to look for Font names.
* SC2DSlider : 2 dimensional slider
* SC2DTabletSlider : a 2D slider with support for extended wacom data
* SCButton : each state: [ name, text color, background color ] . Failure to set any states at all results in an invisible button.
SCCompositeView : A view that contains other views.
SCEnvelopeView : opens the envelope window whose nodes can be moved.
SCHLayoutView : Puts the sliders etc horizontally in a formatted layout.
SCVLayoutView : Puts the sliders etc vertically in a formatted layout.
SCMultiSliderView : Multisliders in a single window.
SCNumberBox : Number Box
SCPopUpMenu : Pop up menu
SCRangeSlider : sliders within a specified range
SCTabletView : Tablet view. Can receive data ffrom wacom or mouse.
SCTextField : Text based entry
SCView : SCView is the abstract superclass for all SC GUI widgets.
SCWindow : User Interface window : SCWindow.new(name, bounds, resizable, border);
resize : resize behavior for SCView..
1 - fixed to left, fixed to top
2 - horizontally elastic, fixed to top
3 - fixed to right, fixed to top

4 - fixed to left, vertically elastic
5 - horizontally elastic, vertically elastic
6 - fixed to right, vertically elastic

7 - fixed to left, fixed to bottom
8 - horizontally elastic, fixed to bottom
9 - fixed to right, fixed to bottom
-------------------------------------------------------------------------
Quiz : The error was there should be "states" instead of "state"..
Right : but.states = [["suffering",Color.black,Color.red] and not
Wrong : but.state = [["suffering",Color.black,Color.red],
code
(
var win, but;

win = SCWindow(
name: "Panel"
);
win.front;

but = SCButton(
parent: win,
bounds: Rect(20, 20, 230, 50)
);
but.states = [["suffering",Color.black,Color.red],
["living",Color.black,Color.blue]];
but.action = {"hello".postln;}
)

References :
* Haines.Christian."Workshop-9-sem2 conducted on GUI(2) .Programming with SuperCollider".4 October'2007.Electronic Music Unit.University of Adelaide, South Australia.
* IXI softwares, www.ixi-software.net
* McCartney , James et al . 2007,SuperCollider Inbuilt Help.
* Source Forge, http://supercollider.sourceforge.net/

Film Sound:
Forum : Bent Leather Band

Mid sem break

2007-10-09T20:09:00.000+09:30

What did i do << had to move my house, one of the key problems i have faced in being here as an international student(which was obviously my decision)..Do i need that, wont it be nice to go back home, have a stable place,my own place, a permanent drumkit/percussion setup/piano and my own studio setup and I can spend all my time, without worrying literally about anything.. the answer is I have already spent that time, now I am away fom home, far away and the time for that is over,it wil come bacj though, nt now, however I am in search of another home, is it adeladie, not so far, not in 4 years, how cum now.. {i hate to move * inf;}.println
I did have some great time in the holidays, although not alot of study, alas, I am kicking now babay, dont you worry, I will fly high,I believe can fly, I believe i can touch the sky,tara ra ra ra rara,I want to spead my wings and flyaway.. shhhhhhhhhhhhhhhhhh

Instrument

2007-09-13T13:14:00.000+09:30

So far Piezzo seems to be the basis of my instrument. I want to scratch the surface of piezzo with differnt objects like a bow, brush or a hand grinder.Putting it under water and then hitting it on the surface of the glass also gives interesting metallic sounds.Brush and grinder gives quite differnt characterstic to the resultant piezzo's vibrations/sound. Generating complex rhythmic patterns at a very high tempo by touching the surface of piezzo by a grinder fascinates me quite a lot. A easy and interactive way of generating metallic rhythmical patterns.
Further,exploring these ideas I want apply all these techniques and take piezzo as a Line In into the computer and use SuperColliider( or rather use Arduino )to synthesize the incoming signal of the piezzo. So far I have experimented by PitchShifting the incoming signal of the Piezzo or convoluting it with any other sound source.
I need to look more into the Arduino patches and explore them to make interesting sound material.However I am more interested in sticking to SuperCollider since I am in a learning phase of that and spending more time on it will be more benificial for me..( I would need approval to do that).
Breadboarding is interesiting, however its quite fragile and a temporary solution( atleast for me).Old school technology is fine but I find it very time consuming or/and not quite an ideal approach for me to make music with at this stage.There is so much I can do with computers and playing with toys I can leave for the other people to explore.Playing with IC's and resistors is OK but I find it to be kind of pointless at this stage (1) because so far it has not been a priority and I need to spend alot more time (2) Time is very crucial and I have to very sure where am I putting my time..I like electronics and their construction and I do understand it might open up new possibilites for me and thats why I am not rulling it out totally and I will definately be exploring them in the holidays, and hopefully I can use them as part of me instrument ..
I would actually like to have kind of a percussion kit( a basket of few hand constructed objects or miscellinous tools) all hooked up to my computer through line In or a microphone to change their characterstics and timbre by applying various synthesis techniques.
This is a scratch,I will have more ideas as the time goes by in the holidays

Week 7

2007-09-12T16:25:00.000+09:30

Creative Computing : Physical Modelling (2)

Quoting PMPD documentation intro:" These objects provide real-time simulations, specially physical behaviors. pmpd can be used to create natural dynamic systems, like a bouncing ball, string movement, Brownian movement, chaos, fluid dynamics, sand, gravitation, and more. It can also be used to create displacements thus allowing a completely dynamic approach .With pmpd physical dynamics can be modelled without knowing the global equation of the movement. Only the cause of the movement and the involved structure are needed for the simulation. pmpd provides the basic objects for this kind of simulation. Assembling them allows the creation of a very large variety of dynamic systems ."

CODE
Sound Examples:

Referenes:
* Haines.Christian."Workshop-7-sem2 conducted on Physical Modelling - PMPD library (physical modelling) created by Cyrille Henry on PureData.Programming with SuperCollider".6 September'2007.Electronic Music Unit.University of Adelaide, South Australia.
* PMPD : Documentation and examples
*Collins.Nick and Olofsson.Fredrick.Tutorials on SuperCollider.Chapter 11.1
* McCartney , James et al . 2007,SuperCollider Inbuilt Help.
* Source Forge, http://supercollider.sourceforge.net/

Week 6: mid way

2007-09-04T15:40:00.000+09:30

Creative Computing: Physical Modelling

'Physical modeling' refers to the use of computers to model or simulate the sounds of traditional musical instruments or any analogue sound.
"There are two different general methods for synthesis of musical instrument sounds. One approach is to look at the spectrum of a real instrument and try to recreate it. This includes methods such as additive synthesis and frequency modulation (FM). These produce sounds with similar structure, but the parameters involved have no relation to the physical parameters of an instrument. The other popular approach is to use a sample of the instrument, such as in wavetable synthesis and samplers. In both of these cases, you're creating sounds without any consideration for how the real instrument actually creates those sounds.

"Karplus-Strong string synthesis is a method of physical modelling synthesis that loops a short waveform through a filtered delay line to simulate the sound of a hammered or plucked string or some kind of percussion . This is a subtractive synthesis technique based on a feedback loop similar to that of a comb filter."

References:

* Haines.Christian."Workshop-6-sem2 conducted on Physical Modelling - Karplus-Strong string synthesis.Programming with SuperCollider".30 August 2007.Electronic Music Unit.University of Adelaide, South Australia.
* Anon. 2007, Karplus-Strong string synthesis, 2007, .
* "Tutorial 9". IXI 2007, Software, IXI, 11/1, .
"Chapter 16". Cottle, David Michael 2005, Computer Music (with examples in
SuperCollider 3).

Audio Arts : Film Concepts
Feedback is the signal that is looped back to control a system within itself. This loop is called the feedback loop. A control system usually has input and output to the system; when the output of the system is fed back into the system as part of its input, it is called the "feedback."
In cybernetics and control theory, feedback is a process whereby some proportion of the output signal of a system is passed (fed back) to the input. This is often used to control the dynamic behavior of the system.

My work is based on feedback theory and digital manipulations. Visuals are generated by the process of video feedback which are then manilulated by using various filters. The end result will be of collarge of various shots and filtered result applied to the generated feedback.
(my film analysis coming soon)

Week5

2007-08-31T13:38:00.000+09:30

Creative Computing: Granular Synthesis (2)

Keywords of the Week:
granulation, granular synthesis, source sound, buffer, duration, amplitude, interpolation,
overlap, rate, pitch, envelope, tone, sound file, panning, spatialisation, 'hand coded',
customised.

Task of the Week:
CODE
Sound Examples:
1)Pure Tone granulation
2) Sine graulation inspired from Zannos method
3) Buffer granulation
4) Signal arithmetic and granulation
Any number of permutations can be applied to various oscillators for the desired result.
<< ((osc1 / osc2) + (osc / osc3) * osc4) *env ; << ((osc1 * osc2) - (osc * osc3) / osc4) *env ; << ((osc1 * osc3) / (osc * osc2) * osc4) *env ; Etc.. Here is a list of few Synthesis techniques that can be applied to the signal:

Steps: Granular synthesis and the various parameters:

Grain size: Create an envelope - the envelope duration will then be the grain size
Grain amplitude: Change the maximum value of the envelope mentioned above
Grain amplitude dispersion: Add a random factor to the above amplitude
Pitch: Change the rate value of the PlayBuf
Pitch Dispersion: Add a random factor to the Pitch value
Density: Use some sort of signal (e.g. Pulse) to trigger the envelope - if you use Pulse, then a higher frequency will generate a higher density, a lower frequency a lower density.
Time Dispersion: Add a random factor to the frequency of your Pulse trigger signal
No. of Grains: Create/destroy more instances of the synth

Step 1: Creating an envelope
add the variable env

env = EnvGen.kr(Env.new([0,1,1,0], [1,1,1]), trigger, grainamplitude, 0, grainsize);

Work out trigger, grainamplitude and grainsize?

trigger = LFPulse.kr(density+timedispersion)
grainamplitude = Grain Amplitude + Grain Amplitude Dispersion
grainsize = Grain Size + random factor if wanted

Once this is done multiply the output of the synthdef by env.

References:
* Haines.Christian."Workshop-5-sem2 conducted on Grainular Synthesis.Programming with SuperCollider".23 August 2007.Electronic Music Unit.University of Adelaide, South Australia
* Granular Synthesis by Eric Kuehnl : http://music.calarts.edu/~eric/gs.html
viewed on 21.August.07
* "Tutorial 08 - Granular Synthesis". SuperCollider Tutorial, 2006, 2007, .
* "Granular Synthesis. A very simple Granular Synthesis case:", "First steps". McCartney ,
James et al 2007, SuperCollider Inbuilt Help, Source Forge, .

*Collins.Nick and Olofsson.Fredrick.Tutorials on SuperCollider.Chapter 7.2
* McCartney , James et al . 2007,SuperCollider Inbuilt Help.
* Source Forge, http://supercollider.sourceforge.net/

Week 4

2007-08-22T12:40:00.000+09:30

Creative Computing :Granulation

"Granular synthesis is an innovative approach to the representation and generation of musical sounds" (DePoli 139).The grain is a unit of sonic energy possessing any waveform, and with a typical duration of a few milliseconds, near the threshold of human hearing. The typical duration of a grain is somewhere between 5 and 100 milliseconds. If the duration of the grain is less than 2 milliseconds it will be perceived as a click. The most musically important aspect of an individual grain is its waveform. The variability of waveforms from grain to grain plays a significant role in the flexibility of granular synthesis. Fixed-waveforms (such as a sine wave or saw wave), dynamic-waveforms (such as those generated by FM synthesis), and even waveforms extracted from sampled sounds may be used within each grain.
Asynchronous granular synthesis (AGS) was an early digital implementation of granular representations of sound .When performing AGS, the granular structure of each "Cloud" is determined probabilistically in terms of the following parameters:

1. Start time and duration of the cloud
2. Grain duration (Variable for the duration of the cloud)
3. Density of grains per second (Also variable)
4. Frequency band of the cloud (Usually high and low limits)
5. Amplitude envelope of the cloud
6. Waveforms within the grains
7. Spatial dispersion of the cloud

References:
* Haines.Christian."Workshop conducted on Grainular Synthesis.Programming with SuperCollider".16 August 2007.Electronic Music Unit.University of Adelaide, South Australia
* Granular Synthesis by Eric Kuehnl : http://music.calarts.edu/~eric/gs.html
viewed on 21.August.07

*Collins.Nick and Olofsson.Fredrick.Tutorials on SuperCollider.Chapter 7.2
* McCartney , James et al . 2007,SuperCollider Inbuilt Help.
* Source Forge, http://supercollider.sourceforge.net/

Audio Arts: Film Analysis
I somehow have to accept the casualness of this class. The topic as you can see is huge and can get really interesting and informative.(In any case self research is the key to learn and I dont expect to become an expert by attending those 12 hours). However I do expect inspiration and valuable sessions from my lectures.I certainly believe that a classroom with better Audio-Visual facilities will enhance the experience of any examples we talk about in the class.
Next week is the presentation of our movie and through out the week I will be doing that. Few results I got from video feedback are really interesting.This is done by pointing the camera on the computer screen while final Cut pro is capturing the live input. I will base my work around that and more digital manipulations.

This week, we briefly talked about the various aspects of film music.
Theme music as the word suggets is the title music of the film.It is the sonic image of the film and refers to a piece of music that is written specifically for it.
Mood Music refers to setting a mood of the film or sequence coming ahead.
CharacterMusic/leep music/motives : represents the character or reminds of a place/motive.
Enviornment music : sounds from the place/space/enviornment projected on the screen
Action Music : fast paced music with the action scene, climax, use of high tempo arpeggios

In the later part of the hour we looked at the film Team America - world Police by Trey Parker and Matt Stone. Thanks Luke for the DVD, confessing I have watched the whole film. It is not the choice of film i would like to watch, because of the political message it has got. Now, i think its a very well made film and contains a clear message and some good sound design components and some great arrangments. Music plays an important role in setting the mode of the film. Music suggesting a part of the world/culture is very well used, like for middle eastern vocal singing.In the begining accordion is used to depict Paris.The theme music represents an american way.String arrangments plays aimportant role in depicting the mood.

I was going through the course material of film scoring of Berklee School of Music.Its quite ellaborate and different from how we approach it,but I thought there are some good individual topics here to be studied on.

Film Scoring 101: Berklee Music

Lesson 1: Drama and Music

Absolute Music vs. Functional Music
List Situations Where Music Provides Support
Early Film and Sound Technology
Identifying Dramatic Intent
Identify Emotions for Music
Think Like a Director
Quiz

Lesson 2: Dramatic Functions

Focusing on the Visual
A Symbiotic Relationship
Relationship Between Visuals and Music of Scenes
More Symbiosis
Dramatic Function: Three General Categories
Identify Dramatic Functions of Scenes from "To Kill Mockingbird"

Lesson 3: Spotting for Music

Spotting
Considerations When Spotting
Analyze the Spotting Process With a Scene
Analyze the Spotting/Scoring of Several Scenes
Spot Two Scenes

Lesson 4: Film Terminology and Dramatic Application

The Stages of Film Production
Setting Up and Shooting a Scene
Analysis of Scene Structure
Film Grammar and Linear Structure
Scene Comparison with and without Music
Basic Film Terminology
Photographic Processing Effects
Identify Editing Techniques and Photographic Effects
Camera Movement and Perspective
Breaking Down a Scene

Lesson 5: Working with SMPTE Time Code

SMPTE Time Code
Digital Audio – Digital Video
SMPTE and Relative Time (aka-Clock Time or Running Time)
Determine Relative Time
SMPTE and Relative Time Conversion Tools
Importing Video and Creating an Offset Start Point
Using Markers in Your Video and Sequence
Adding Markers in a Movie Clip
Quiz
Assignment

Lesson 6: Synchronization

Synchronization
Methods of Synchronization
Critical Synchronization
Music and Visual Sync
Applying Sync Leeway
Leeway- Early or Late
Identify the Sync Relationship with Hard and Soft Sync Events
Comparison of Timing Events to selected tempo - Bar/Beat Numbers
Bar/Beat Breakdown
Assignment

Lesson 7: Synchronization Part 2

Frame Click Tempo Defined
Comparison of Frame Click tempo to Metronome
Subdivision of a Frame for Additional Tempi
Using the Beat Sync Spreadsheet with a Frame Click
Comparing Beat Sync Accuracy – Leeway of Neighboring Tempi
Bar Layout and Use of Mixed Meters
Starting a Cue
Ending a cue
Changing Tempo Directly
Changing Tempo Gradually
"Hiding" the Feel of Pulse

Lesson 8: Scoring Practicum – from spotting to mixing

Spotting a Short Film
Creating a Music Summary
Developing a Concept for the Score
Developing Thematic Material
Relationship of Cues to Story Content and to One Another
Assignment: Preparation for Creating a Complete Score

Lesson 9: Free Timing Techniques

Methods of Free Timing Defined/Examples
Comparison to Use of Clicks
Composing to a Stop Watch
The "Written" Click
Freedom from Pulse – Ritards, Rubato
Conducting/Performance Consideration
Free Timing Applied to Using a Sequencer

Lesson 10: Overlap Cues and Transitions

Overlap Cues Defined and Analyzed
Why and When to Use an Overlap
Four Techniques for Creating Overlaps
Musical Considerations: Tonality, Tempo, and Instrumental Color
Overlapping Source Cues and Underscore
Double Track Cues
Sweeteners and Overlays

Lesson 11: Scoring under Dialogue or Narration

The Realities of Soundtrack Balance: Dialogue is King
Open and Closed Scoring Situations
Female/Male Voice Timbre and Register
Narration vs. Dialogue – Other Considerations
Rhythm and Dynamics of Spoken Word
Instrumental Color: Choices for Blending
Orchestration Dynamics Texture
Dialogue and Music as Counterpoint

Lesson 12: Professional Scoring – preparations and application

Types of Scoring Jobs
Making Contacts
Self-Promotion – The Scoring Demo
Getting Organized for a Scoring Assignment
Going Solo
Building a Team
Work Methods and Creating Mock-Ups
Deadlines and Delivery
Contracts and Copyright

Week3

2007-08-14T18:09:00.000+09:30

Audio Arts: This semester is about Film Music.First six weeks is about film making and producing a short film, providing the visual material for the major project.
We talked about "time lapse photography' and later looked at Koyaanisqatsi - a film by Godfrey Reggio and music by Phillip Glass. We only watched couple of minutes which had shots of builidings and sky/clouds crafted together with time lapse and slow motion effects. It is the first in Qatsi Trilogy, an influential trilogy of films made over a period of almost 20 years.
Qatsi Trilogy:

* Koyaanisqatsi ( Life out of Balance );
* Naqoyqatsi ( War as a Way of Life );
* Powaqqtsi ( Life in Transformation );

Koyaanisqatsi which was released in 1982. Music plays a vital role in this film. "Film provokes its audience into thinking about aspects of the modern world around them and in particular how our cities and industry sit within and compete with the natural landscape."
( I will write more about the film, once I watch it)

References:
* Harrald.Luke.2007.Lectures in Audio Arts.9 August'2007. University of Adelaide
* http://www.mfiles.co.uk/composers/Philip-Glass.htm ( viewed on 13 August'2007 )
* http://www.qatsi.org/ ( viewed on 13 August'2007 )

Forum : " Breadboarding" -- This was the first forum I attended this semester. I dont have my kit,so I shared with freddy. I completed soldereing a piezo microphone and the first exercise,which was to make an Square wave Oscillator. I could not reach till making of Modulating Square Oscillator and Ring Modulation effect. I should have my kit this week,so can complete previous weeks work and then I could post some sounds for you to listen..
I am glad we are doing something in the forum and not sitting listening to someones talk. Enough talking has been done, its time for some action guys. I dont mind so much that we are still not playing music,indeed we are working on our instruments that will be later used to make music .

Week 1

2007-08-08T11:12:00.000+09:30

Creative Computing : Splice and Dice(1)

BBCut Library : This is a collection of SuperCollider UGens, classes and patches for automated event analysis, beat induction and algorithmic audio splicing. It is released as public open source under the GNU General Public License, Copyright (C) 2001 Nick M.Collins.
Nick Collins is a London-based composer, computer music researcher and laptop performer. My first encounter with nick was at ACMC'06 at Jade Monkey during Klipp Av's performance.

Keywords
BBCut2 and associated BBCut classes and methods including :

* BBCutBuffer : Represents a Buffer with some BBCut specific refinements, holds data on a buffer including any segmentation (event positions). Derived from the Buffer class and has methods for choosing playback segments.
+ new(filename, beatlength, eventlist)
+ array(filenames, beatlengths, eventlists)

* CutStream1 : cut up a stream, via an intermediary buffer that holds the most recent cut for repeating.The stream can be any bus on the Server, so might be a file streamed off disk, a current audio input or some synthesised data.
+ new(inbus, bufnum, dutycycle, atkprop, relprop, curve)

CutBuf1 :Playback for a buffer, using a single fixed PlayBuf UGen with jump in playback position, but no enveloping.
+ new(bbcutbuf, offset)

CutMixer : The CutMixer organises the final output from a given rendering CutGroup. It control final rendering bus, master volume, and ampfunc and panfunc parameters of cuts.
+ CutMixer.new(bus, volume, ampfunc, panfunc)

*sound examples coming soon

References:

* Collins. Nick , “Further Automatic Breakbeat Cutting Methods,” Proceedings of
Generative Art, Milan Politecnico, 12–14 December 2001.
* Collins. Nick ,“The BBCut Library,” Proceedings of the International Computer Music Conference,Goteborg, Sweden (2002).
*Collins. Nick ,“The BBCut Library,” Examples and help files.
* McCartney , James et al . 2007,SuperCollider Inbuilt Help.
* Source Forge, http://supercollider.sourceforge.net/

i am back

2007-08-06T12:56:00.000+09:30

IMNp

2007-07-04T21:04:00.000+09:30

Interconnected Musical Network Performance with SuperCollider

Attempt 1 = Tyrell controlling frequency and vinny controlling amplitude & Pan

Attempt 2 = Vinny controlling frequency and Tyrell controlling amplitude & Pan

Projects

2007-06-27T22:14:00.000+09:30

Creative computing ;: My first composition with SuperCollider. The basic model of the tree is constructed by defining the stems of the tree that are the sound sources for SynthDef’s.I have called my work as " Timbre Tree". The process started by generating stills of a tree in Photoshop . I was amazed to see how visual representations can give elobrate ideas and can become the foundation of a piece. I have tried to express what I was seeing in those stills.
The tree can have several shapes, depending on how the performer moulds it.One picture of a tree has climbed various stages of filtering. The print has reached the stage of wind shaping the frequencies and patterns, in a way symbolising the feedback process.
I have used various kinds of Noise generating Ugens contained in SynthDef's to shape this piece.These SynthDef's are modulated by their own signal through the feedback engine. Having ‘just’ the right volume without excessive feedback is the key for the performance. After switching the engine, the player can decide either to modulate the incoming signal feeding on to itself or play the table, clap or speak to generate more textures for the tree. A user input sound generation process feeding itself which is played back from the same set of speakers. I played the ‘table on which my laptop was sitting and have also used my laptops body to generate sound. An important point into consideration; my laptop is acting as a sound generating body both ‘physically’ and electronically.
I recorded this piece by close micing the speakers in Studio 2. This created another feedback environment in the chain and affected the overall timbre of the tree. "Life feeds on life, feeds on life and feeds on life".Similar concept applied to sOuNd.
In other words the speakers that are used to playback the SynthDef's are feeding their own signal through feedback engine. This modified signal is reproduced back into the same set of speakers. The end signal is then captured by two Newman U-87 microphones as ‘Left’ and ‘right’ and recorded onto proTools.
The recorded waveform had two sections .One constructed with dust particles and storms and the next section was recorded playing the table. This is very interesting. I have figured out that when my feedback engine is on and I am using the ‘line In’ as the internal microphone of my computer, it converts the table as a drum. Not just the table the whole environment is affected. Speech, abstract noises and even breathing gets amplified with the control of changing parameters like pitch, grain size, time dispersion and pitch dispersion. As the player increase the output of the amplifier. There will be a dense cluster of sonic cloud (use this very carefully, if the volume is high, you ears are at a high risk and so are the speakers.)
The AB section is then made Left = AB and Right = B(rev) A(rev). A mono file is then bounced down which is exported back on to Protools. I made another mono track of the bounce; this time I have A B B (rev) A(rev). I made another mono channel, copied the track, hard panned both the channels and then I got Left = A B B(rev) A(rev), Right = A(rev) B(rev) B A
I then applied panning to both the channels . Both the tracks simultaneously change their position and move to the corresponding speaker several times in the piece.

Score : My code contains instances of synth which can be run and paused at any given time by the performer.. It also contains a user changeable yet fixed scheduling duration of various Synth’s .It also contains a user input random duration scheduling for playing the different Synth’s.The player can decide when he would like to switch ‘on’ the feedback engine. He can then decide if he would like to feed the signal on its own or start playing anything and everything he desires in that acoustic space.Nothing is fixed from the author,go crazy with it.
jai rAm ji ki..
===================================================================
Audio Arts :

Ezulai is a highly unique band from Adelaide. Its influences draws from indi-rock to funk and from punk to jazz. All compositions are short song based originals with the vocals creating vivid stories and images resting upon a bed of twisted soundscapes. Ezulai seeks to utilize all forms of media to create a unique experience. I recorded their couple of songs but have only mixed their 3 songs so far. A little more work but the guys are all set to release their first EP.

Tracks:
mumma
Cheap as a cigarette
Robbers Collar

contact : ezulai@optusnet.com.au>

Lizabella Baker – Vocals, Flamenco dance/drums
Maura O’Reagan – Vocals, Whistle
Julius Crawford – Bass, keyboards
Christian Hodgson - Guitar
Mousiour Duffur - Drums
===========================================================================
Music in Context 3A: Music since1900

" Mosque in war times "- 6'55 mins
download score

References:
Whittington.Stephen.2007.Lectures presented for Music in Context 3A.Music Since 1900.Elder Conservatorium of Music.University Of Adelaide

PreProduction CC

2007-06-14T00:56:00.000+09:30

The basis of my work will be exploring only a fraction of concepts that can be applied to composition using Mathematical Structures.
I want to build a tree consisting of few different stems. I can call my tree as a “timbre tree” whose construction is defined by different random functions. The length of the tree is the order of execution of different stems and the breadth of the tree is the acoustic space under which the tree will grow.
The tree can be understood as an Environment and the stems as functions in SuperCollider. These functions are Synth Def’s that are modeled using different Ugens. The parameters of these Ugens will be generated by using random decision making procedures like coin, choose, Scramble, curdle.I could model the growth of a particular stem on Brownian movement. I can
also model growth of other stems on random procedures like Dwhite,Dbrown,Diwhite, Dibrown, Drand, or Dxrand.
I could also restrict myself by using only Random Ugens/signal generators for example Dust, PinkNoise, GrayNoise, BrownNoise and Crackle. Although this is a significant restriction ...

There could also be a function/stem in a tree, which is identical to another stem in its construction. I can apply “phase shift” to the stem by starting it at a different time from the previous one in the order of execution. Phase shifting smaller stems will result in grown stems that are now resultant stems, which are thicker and complex in their nature. This method can beused on simple or already complex rhythmic patterns to generate (morecomplex) new resultant patterns.
My tree will have a form of either ABBA or ABB’A’ or A B B (reverse) A (reverse).
When my tree is constructed, I could make a reverse copy of the waveform and then put normal and reversed in Left and right channels respectively.
These are the combinations I can have:
Left = ABB'A & Right = ABB'A (default)
Left = ABB’A’ &amp; Right = A’ (rev) B’ (rev) B (rev) A (rev)
Left = ABA’B’ & Right = A B’ (rev) A’ (rev)
Left = ABA’B’ & Right = A B A’ (rev) B’ (rev)
Left = A B B (rev) A (rev)& Right = A (rev) B (rev) B A

WEEK 12

2007-06-02T00:02:00.000+09:30

Audio Arts: We looked and compared few mixed/unmasterd and masterd tracks in the workshop. Few things to remember :
*/ Mixing with mastering in your mind : It is very important you always mix with mastering in your mind. First of all recording should be of very high standards, secondly never apply hard compression, maximum normalisation and extreme Equalisation to your track at the mixing stage. Be aware of things which can enhanced in mastering stage. These things can never be undone and hence the quality will suffer.*/

Essentials: 4 things important for mastering
1 Ear : Everything depends on the hearing power of engineer who is mastering it. Healthy ear, familiarities with client expectancy with advanced knowledge of what you are doing.
2.Room : Having a balanced room is very important. A good room will always contribute in your ability to hear things properly.
3 Equipment : Equipment you use will make huge difference in the final outcome. Software plugins only give you a starting point nad any professional mastering is always done using industry standard hardware.
4. Speed and efficiency : Be efficient in terms of time, client will want more from you in less time. Basically practice to an extent when you have familiarized all the functions of your gear.

Dragos work : Here is the mastered version for dragos piece.

Plugin Screen shot : If you look at this screen shot,it tells you the stages how sound has been processed. I have used 3 VU metres for analysing the change. First one suggests inequality in left-right channels,the second one shows the result of limiting- setting the threshold level so that the signal never peaks,equalisation and joemeck equaliser: equal balancing between both the channels,cutting down annoying frequencies,enhancing a little bit of bottom end and touching up with Joemeck.In the second slot which is a bus, I have used bombfactory , big bottom and then compression. The last VU meter suggests consistency in level,no peaks through out the track and the track being cleaner and healthier. If you analyse 1st and 3rd VU meters there is not much difference in terms of levels,but there is defintely difference in what we finally hear now. The trouble was any slight increase in gain would result in peaking,so I made sure the signal does not peak through out the track even though I could not get the levels go any higher than this.

References:
(1)Grice, David.2007."Tutorials on Audio Arts (3) Semester 1, Week 12.Mastering(1)." Lecture presented at the Electronic Music Unit, University of Adelaide, South Australia, 29/05/2007.
(2) Readings on My Uni.Music Technology(3)2007.
(3)Waves Mastering Help
http://www.waves.com/objects/pdf/general/Update-and-Errata-web.pdf
viewed 29May'07

Forum : Whats happening next semester : Improvisations group with a defined appraoch

I must say the idea of student presentations in the forum was a waste of time for me.I think students should be given these oppurtunites in their respective classes.Building their confidence is one thing and punishing other people through this process is another.

Listening Examples :

2.Raga Sihendra madhyam by Dr, C Sardeshmuh

3. Terry Reli and Johny cale (velvet underground) : Improvisations ; church of Anthrax

4.Machine for making senses : Jim Denley, Rok Rue,chris Mann, Stevie Wishart and Amanda Phillips

5. Ross Bolleter : Crow country

6. Sun Ra and this Astro Intergalatic Infinity Arkestra : space is the place

7. Ryoanji - - cage 1985

8. Mr Ban'gal

Comprovisation :

"Free urself from the idea of self disciplane to improvise" : an idea of Sun Ra: contradictory, but u know what it means..

Scratch Orchestra : School time compositions

References :
(1) Whittington.Stephen.Forum. Semester 1, Week 12. Workshop presented at the Electronic Music Unit, University of Adelaide, South Australia, 31/05/2007.

A shoulder

2007-06-01T21:20:00.000+09:30

I have to write this,last day of week 12. Few more lectures next week but otherwise its all over.. Friday started with me thinking there is no computer science lecure,but there was.For some reason in the back of my mind,I thought its tuesday even though I knew I have classical theory lecture which happpens every friday.Weird..!

Another great lesson with stephen on rhythmic ideas of Steve Reich - Phasing effect,metric modulations and more.. He asked me to clap with him :

Both of us playing in 3,
then he moves to 4 and
then subsequently I have to move in 4 as well.

Me and stephen were not on the same page.First time I changed too quickly and the next time I thought let the rhythm settle a bit and waited too long..So obviously I get zero. Stephen, it was a pleasure doing it with you,only if it would have happened the way you wanted.A very interesting idea and you explained it very clearly .Its also interesting how he points out things I have been practising in the past.

Ok,I check my email now, this time peter has sent me a warning about using studios as studios and not as my private study space.I do have used the space for that,most of the times when no one is there,but sometimes booking it so that I can do some work,an hour before forum and then an hour after that,cause I see christian pretty much every thursday.I totally understand peter,I know you are only doing your work. It did not upset me at all. I knew I was wrong..
Ok,Now the disaster, I check my email again and chris writes to me saying Craig and John Aue cant come on sunday for the recording.My Audio Arts major project and its falling apart. lets see what happens then.Its all improvised music , I have to wait and see whats actually going to happen on sunday,uncertainity at its peak, which happens to me all the time. Even when I am travelling.No wonder why I have missed my flights as well.I was lucky enough to catch my flight from malaysia to Adelaide.The flight was closed,some beautiful women helped me and logged me in..just survived..
Ok, the last disaster, My computer science prac exam and I didnt pass.There was some error in my code and I couldnt find it."Exception in the main thread" while running the main patch,even though the main and the driver class compiled.. I felt so down after that I decided to have crappy McDonalds meal.
Came to EMU kitchen , shared my pain with ben and now I am off for some practise.. I am ok now,have to work very hard to do allright in Comp Sci-fi..
I dont think I am going home, will sleep in the studio,at some stage.

WEEK 11

2007-05-27T15:17:00.000+09:30

Creative Computing: Computer Music Programming : Streams (1)

CODE @ Exercise :

(1) A synthDef
(2) A stream playback mechanism that controls different parameters of the synthDef and demonstrates concepts presented in "Streams-Patterns-Events1 - 3.html"
(3) Thoughts and issues on the process with an MP3 result.

This code will crash your computer.I can make it not crash but it still does not sound what I want it to sound..So I have choosen to post the code which will crash the computer.
I still need to understand Streams,patterns and events alot better.I have actually spent more time making the synthDef .
I can see where the things are heading,SuperCollider why didn't you come in my life earlier.. I guess I have the whole life to keep working on it. Thanks christian.

References :
1)Haines, Christian."Creative computing : Semester 1, Week 11. "Streams,Events &Patterns". Lecture presented at the Electronic Music Unit, University of Adelaide, South Australia, 24/05/2007.
(2)McCartney , James et al 2007,SuperCollider Inbuilt Help.
(3)Source Forge,http://supercollider.sourceforge.net/
(4) SuperCollider Help Book
======================
Audio Arts :Mastering (1)
Mastering is the process of finalizing a recording and preparing it for the final medium on which it will be played back ensuring optimum clarity,balance and consistent levels across the entire recording.In the workshop we looked at the website of Eden Sound Mastering - Australia's first Focusrite Authorised Blue Mastering Suite in melbourne.

How mastering came into existence ?
There were left over inaudible high frequencies on the CD recordings which would give you a headache if exposed over long durations.They are non existent in vinyl's.Hence came mastering.

EQ in mastering is often used to tuck away annoying frequencies and to enhance the frequencies that make the recording special.Through the use of EQ you can shape the final curve of the song so that it has the right amount of bass, midrange and treble. Applying correct amout of compression and limiter with "just the right" amount of attack and release will make the track really special.Remember the settings will vary for each song and style of music.Some songs might just need that subtleness and love whereas another one will need that big size and excitement. It just depends on the genre/style of music/song.
Through the use of “Limiting” in mastering you can put a clamp on the entire mix so that it doesn’t move above a given threshold.This will insure the loudest mix do not goes above the given limit.Another useful point in this weeks readings was use of VU meter as a plugin.It ensures that you are not compressing too hard and helps you in making right decisions with the settings.
I will talk about compression techniques in the next week.There is certainly alot more to compression at mastering stage than just boosting everthing.

Master Mix : Here is a (rough) master of the the group 3F+1M
Previous Mix : Here is the older mix
First Mix : Here is the first mix

I took the final mix in to a new protools session,named it mastering sesssion and applied(from the order of top to bottom)
* 7 band EQ = balancing the frequency ranges which sounded nice to me, a little more gain on the lower range(80Hertz), boosting the mid range for more clarity in vocals. I have cut down 75% gain to the high range(above 12 Kilo Hertz).
* minimax = this was giving a bit of depth in the bottom end.
* limiter = setting the threshold level, i made sure the loudest signal does not peak.
* Compression -I still need to understand more on compression.Whats the right amount of attack and release, whats the relationship with other paramerters,how does the relationship along with other parametres change the sound ? I am confused in terms of completely understnding it,however I played with the knobs and did what sounded good.
*Mc2000Mc4 - I just played with the knobs,I could hear the change it did to the mix. Did I wanted that change ? I am not sure,I have used it very carefully, by just increasing a bit if its output.
Something from this line added noise into the mix.I think its compression or Mc2000Mc4.It was really audible at silent spots.I have to work more on reducing the noise from the mix,otherwise I am sort of happy.

References:
(1)Grice, David.2007."Tutorials on Audio Arts (3) Semester 1, Week 1.Mastering(1)." Lecture presented at the Electronic Music Unit, University of Adelaide, South Australia, 22/05/2007.
(2) Readings on My Uni.Music Technology(3)2007.
(3)http://www.focusrite.com viewed 27May'07
(4)http://www.edensound.com.au viewed 27May'07
(5)Waves Mastering Help
http://www.waves.com/objects/pdf/general/Update-and-Errata-web.pdf
viewed 27May'07
====================
Forum :
====================

Memories of forum far apart now.My mind looked somewhat like this picture in those 2 hours. However I rememeber Delany's presentation. Very interesting talk,as much, as the sound examples he played,of people like LustMord, Brien Willaims , Aphix Twin and Robert Rich. Thanks for burning me a Dvd full of Ambient music John, I have not forgotten about burning you some Trilok..

Genre : dArk ambient music
Form : long form timbral variation
characterstic : visual music

John said " feels like I am in a dark forest long from anywhere"..
Stephen said "Continous low level tension without any release"

References:

Whittington.Stephen . “Construction and Deconstruction.” Forum/Workshop presented at EMU space, Level 5 Schulz, Thursday 24' May' 2007.

Delany.John . “Construction and Deconstruction.” Student Presentations. EMU space, Level 5 Schulz building, Thursday 24' May' 2007.

Whitelock.Simon . “Construction and Deconstruction.” Student Presentations. EMU space, Level 5 Schulz building, Thursday 24' May' 2007.

Shea.Nathan . “Construction and Deconstruction.” Student Presentations. EMU space, Level 5 Schulz building, Thursday 24' May' 2007.

Week 10

2007-05-20T12:24:00.000+09:30

Creative Computing: Duplication

It is a method for duplicating the signal which gets sent to the next bus, hence acheiving a stereo signal from a mono channel.
Out.ar(bus: 0,channelsArray: signal.dup == signal sent to bus[0,1]

Some very interesting points were covered in the class really to do with using arrays to generate massive amount of data with very simple code.

Array.series( range,start, increment)
Array.series(10,1,1) * $1(any variable),
Multiplying by 2 - gives even harmonics ,
multiplying by 3 will give 3rd harmonics,
multiplying by 5 will give 5th harmonics and so on..
multiplying by 44oHertz will give octaves of A

Array.geom(5,1,3) == geometric harmonic
Array.geom(10,1,3) %5 == weirdo using modulo
Array.fill(3,"hello world") == 3 * string name

CODE : "Exercise" :Creation of a large synthesiser assembly using the concept of duplication.
(1) MIDI Input and playback
(2) A synthesiser definition incorporating carriers, modulators and modifiers created using large scale duplication
(3)An effects synthDef
(4) The synthDefs will be organised so the main synthesizer definition will have its output routed through an effects synthDef.
Mp3 result

References :
1)Haines, Christian."Creative computing : Semester 1, Week 10. "Duplication". Lecture presented at the Electronic Music Unit, University of Adelaide, South Australia, 17/05/2007.
(2)McCartney , James et al 2007,SuperCollider Inbuilt Help.
(3)Source Forge,http://supercollider.sourceforge.net/
(4) SuperCollider Help Book

Audio Arts : Creative Production (2)

The whole hour was dedicated looking at AD2022 - Avalon's fourth generation fully discrete,symmetrical Pure class A microphone preamplifier.

I tried couple of things to try this long awaited piece of hardware.My initial experiment failed cause everything I tried resulted in feedback.I was trying to take the audio out from protools into Avalon and then record the mix back into protools.Taking the Auxillary out from the C24 to Avalon and recording that in protools didnt work either.How can I send the master to Protools 3&4 out as well, so that I can take those outs and send it through Avalon ??
Well I was not muting the 2 new tracks that were assigned to record the mix.The signal which was played back was recorded as well and played back too while recording.. Hence feedback ..
I simplified the things and used my computer to play back the mix and recorded that onto protools using Avalon's front panel unbalanced inputs.

Mix of 3F+1m : Here is the mix of the group I recorded.
I have used Avalon to record the vocals and then I sent the whole mix through Avalon.The mix you are hearing is [(MixNoVoicewithout Avalon + Voice) + Mixwith AvalonVoice + Voice].bounce;

For comparison,hear the old ones.
No Voice : Older mix with no voice without Avalon
With Voice : Older Mix with voice without Avalon

References:
(1)Grice, David.2007."Tutorials on Audio Arts (3) Semester 1, Week 10.Creative Production(2)." Lecture presented at the Electronic Music Unit, University of Adelaide, South Australia, 15/05/2007.
(2) Readings on My Uni.Music Technology(3)2007.

Forum :
Words replacing colors.Whats the term when you start seeing words as colors, alphabets become pixels and sentences form shapes ? I am suffering from that.
In this life let me hear sounds and see words.

*(all I want to say for this weeks forum)

Reference:

Whittington.Stephen. “Forum – Week 10 – Construction and Deconstruction." Workshop presented at EMU space, lvl 5 Schulz building, University of Adelaide, 17th May, 2007.

Fredrick May. "Forum – Week 10 – Construction and Deconstruction." Student Presentations. EMU space, Level 5 Schulz building, University of Adelaide, 17th May, 2007.

Dragos Nastasie. “Forum – Week 10 – Construction and Deconstruction." Student Presentations. EMU space, Level 5 Schulz building, University of Adelaide, 17th May, 2007.

Matt Mazzone. “Forum – Week 10 – Construction and Deconstruction." Student Presentations. EMU space, Level 5 Schulz building, University of Adelaide, 17th May, 2007.

WEEK 9

2007-05-13T12:42:00.000+09:30

Creative Computing :Busses, Routing and Ordering
The client side representation of an audio or control bus on a server.Manages allocation and deallocation of bus indices.[ read more about busses and routing]

code : This code is incomplete and has got some errors.. I will update it very soon.

Audio Arts: Creative Production (2)
We were supposed to look at AutoTune, a pitch correcting plug-in by Anatares.Unfortunately we don’t have that in the studios,a million-dollar studio without necessary plugins. I am disappointed with myself too that why don’t I own them. I guess I was always working in the uni and confessing that I have spent the money on other things. But now its the right time to get one, I am still double minded about Mbox Pro or Digi 002, which is only $400 more right now.

Auto-Tune works in two modes:
* The Automatic Mode corrects the pitch of a vocal or solo instrument in real time, without distortion or artifacts, while preserving all the expression of the original performance.
* The Graphical Mode displays the performance's detected pitch envelope and allows you to draw in the desired pitch using a variety of graphics tools.

Important notes and features:
Auto-Tune does not like double notes or a chord - it only works when sustained a single note.
"A side-effect of using very fast pitch correction is that shallow vibrato is ironed out altogether, while deeper vibrato turns into a trill.
Auto-Tune also has the ability to add delayed vibrato to whatever sound is being
processed, so in theory, you can strip out the vibrato from the original performance and replace it with something far more mechanical and precise".

One function of the hardware version of Auto-Tune is its ability to shift
pitch according to a MIDI input. In theory, this means you can input a MIDI melody and whatever audio input you have fill be forced to fit that melody.
Things to try: It has the ability to make the human voice sing impossible arpeggios or in that case any instrument. How about taking a single-note instrument like the tanpura or didgeridoo and changing its sound to a melodic bass line?
Every thing comes to the conclusion of being as creative you want to be, with just a little precaution.

Task of the week :
Mix of the group (3F+1M : NO VOCALS [Feli.Ban.Georgi] ;
Mix of the group 3F+1M): WITH VOCALS [Bel.Feli.Ban.Georgi].scope

I am hoping to record the vocals seperately in the coming week.There is a lot of spill from the other instruments in the vocal microphone,since it was recorded live in the EMU space along with other cats.As you can hear the mix with vocals sounds quite reverby from the one without vocals and i can hear the room especially when the loud snare hits..I have asked belinda to come and do the vocals seperately over the recording.
I think, bass needs just a little cut off from the bottom end or may be little level down will solve what i am hearing right now.I cant quite trust this room as well(studio 1). I might have a break and come back and listen to it.Why am i worring about the mix with vocals,few things are not under my control.

References:
(1)Grice, David.2007."Tutorials on Audio Arts (3) Semester 1, Week 9.Creative Production(2)." Lecture presented at the Electronic Music Unit, University of Adelaide, South Australia, 08/05/2007.
(2) Readings on My Uni.Music Technology(3)2007.
(3)http://www.macmusic.org/software/version.php/lang/en/id/9107/
viewed on 13 May'07

Forum :

Week 8

2007-05-05T19:59:00.000+09:30

Creative Computing : Buffers
Buffers : Sample, automation, location - a way of storing data, address or a value
Buffering represents the creation of temporary memory space for the purposes of storing information such as data arrays, envelopes, windows and samples - whether for recording or playback. [click here to read more about buffers]

Code : This code is incomplete, I am working on it and will update it very soon

References :
1)Haines, Christian."Creative computing : Semester 1, Week 8. "Buffers". Lecture presented at the Electronic Music Unit, University of Adelaide, South Australia, 03/05/2007.
(2)McCartney , James et al 2007,SuperCollider Inbuilt Help.
(3)Source Forge,http://supercollider.sourceforge.net/
(4) SuperCollider Help Book

Audio Arts:
Gating Techniques:A gate mutes a signal whenever its level falls below a
threshold level.During the periods of very low signal or non playing time of a
particlar track in the session, its shuts down,preventing noise or spill in the
track.Most gates have the facility to make the opening and closing of the gate
more gradual.Attack time and release time specifies how quickly the gate opens
and shut..

WEEK 7

2007-04-27T16:08:00.000+09:30

Creative Computing : Synthesisers and Definations(2)

Code : My code had got some serious errors.. I am working on it..Will update it very soon..

Understanding the arguments in Sine wave Oscillator

SinOsc.ar(freq, phase, mul, add)

freq = The frequency of the oscillator. The default is 440hertz.

phase = the offset time position where the wave hits a zero crossing. The default is 0,which means the wave starts immediately

mul (multiplication) = think of this argument as the Amplitude or Volume of the wave. The default is 1.The scale or range of the interpolation (whether the wave goes from -0.5 to +0.5, or -30 to +30)

add = The frequency position from which the wave oscillates. (used mainly for Control Rate oscillation).
"It is useful when you require the oscillator to interpolate between specific values. The default add value is zero, because an audio rate oscillation moves from -1 to +1. By changing the add value to 5,the wave would oscillate between 4 and 6 if the 'mul' value remained the default of 1".

References:
1)Haines, Christian."Creative computing : Semester 1, Week 7. Synthesisers and Definitions(2)." Lecture presented at the Electronic Music Unit, University of Adelaide, South Australia, 26/04/2007.
(2)McCartney , James et al 2007,SuperCollider Inbuilt Help.
(3)Source Forge,http://supercollider.sourceforge.net/
(4) SuperCollider Help Book
(5)http://www.psi-o.net/pseudonym visited on 1 May'07

Audio Arts :
First lesson after the break and I was 10mins late, sorry david I missed my tram cause it came a minute early(very annoying).When i reached , all the microphone placements had been done.We were recording one of the ensembles from the jazz department.I learned how to communicate from the recording space into the studio when there is no listening microphone and talk back facility.The rule is to be very informative through hand movements.However I suggest you setup the talk back facility in order to be absolutely explicit,restricting any possible frustration.I also suggest to get absolutely familiar with newer version of protools.Visit this link for an overview of updates for protools LE 7.3.x

Due to the time strains with studio bookings, my timings, band members availability I could not record another ensemble.However I am using the same recording and here is a rough mix of 'Perdido"by Monk played by "The Quintet of j0hn n j0sh"

=================================

Forum : Gender in Music Technology
==============================
I hate the words "male domain" or "feminism" which was repeated several times in that 1+ hour..Personally I hate dividing people into categories,now if that is culture , language , country or SEX, it does not matter.We all are one,children of one and the continuation of one.
One of the stratagies of few ruthless people is to 'divide and conquer', a big reason why India was ruled by the same people.I really dont like to write for people to read, cause I dont like to hurt anyone, anyway now I am doing it .
Look at this cable , its a male-male s-video cable..Look at it nicely, what does it say to you..?
Stephen started the forum with his thoughts about how big the issue is in the industry.on the topic..Besides the other things interesting things he said,something which striked me was to know a little more about John Cage .It obviously did not effect what I think about him and his music.I personally can not relate to the emotions of gay men.I think they play with the rules of nature.The science says two similar magnetic poles repel each other and opposites attract. Dont know why are two similar poles trying to charge one another.
Now consider the input - output theory.What will happen if you plug output of protools into output of your amp. You will only hear the world around you.Max/Msp does not even let you do that.It wont give you the option of plugging In in In or out to out.In SuperCollider you can but what will be the result,either No sound or feedback.
But YOu do get gay cablesnow ,like this one.
Why are there less women in the field of (M) Technology.It may vary from one country to another.The way they pursue things,restrictions on women and things which women like to do.For instance I see alot of women from china (and alike) in my Computer Science lecture than from any other country. One of my mates from banglore in India has complained me about not having (p?) women in his IT profession.Shine your light F e m a l eFs on "musIc tEch",what you doing ??
Todays Presenters:
Ben, I am sure you will qualify for a white collar job ,I can see u as a good communicative teacher...With a laptop in front I felt like a man..I really enjoyed it..
Amy convinced me that she loves Music Technology and thats why she is doing it.If she would have said it one less time, I would not have believed her..
Thanks for the videos jake. Message to all the women out there from Jake Morris - "listen to bjork and get inspired".
Why are the best chefs men ?? reply your answers to Douglas Loudon (I know some worst chefs in this planet and they are men.)
I can see its a new area and women are taking there time to get into it. Regardless there are some brilliant composers and performers who are women.
One of the figures in EMU is Poppi.Replacing her presence in the forum was a tiny robotic eLecTro feMale,may be her slave,sonically capturring the whole event..Not just her, Sonia wilkie, Jasmin ward and Silver Moon are more examples of women at EMU, with Amy and Laura starting their carrier.Another inspiring figure is Fleur Green, a great percussionist and a good friend of mine.Her recent collaborations with a theatre company compelled her to buy a laptop & ProTools and compose music for kids theatre.I am not sure how far as she gone, I guess she spends more time practising marimba and other percussions.She will, I am tempting her.
It's quite interesting how individual conditions effect.A lot may depend on the up bringing of a child. Why do girls in their childhood like to play with dolls and boys with cars, for instance.. Or is it just what they are given in their hands ...! They definately get attracted to things which appeal them. Any men out there, attracted to dolls when they were small or now.. ?? get back to me please.. cause I am too,, living dolls..
Is it actually gay for a men to wear pink t shirt, dont know, may be light pink with a white rose..!
Why am i discussing this, because I have been to Mars bar twice..Liz told me its quite a liberal place and plays different music.. Both the times with Bianka and the couple [Darren = Brad].

References:

Whittington.Stephen . “Gender in Music Technology, Can you tell the difference?” Forum /Workshop presented at EMU space, Level 5, Schulz building, University of Adelaide, 26th April, 2007.

Ben Probert. “Gender in Music Technology.” Student Presentations. EMU space, Level 5, Schulz building, University of Adelaide, 26th April, 2007.

Douglas Loudon. “Gender in Music Technology.” Student Presentations. EMU space, Level 5, Schulz building, University of Adelaide, 26th April, 2007.

Amy Sincock. “Gender in Music Technology.” Student Presentations. EMU space, Level 5, Schultz building, University of Adelaide, 26th April, 2007.

Jacob Morris. “Gender in Music Technology.” Student Presentations. EMU space, Level 5, Schultz building, University of Adelaide, 26th April, 2007.

WEEK 6

2007-04-15T15:31:00.000+09:30

Creative Computing : Synthesisers and Definitions (1)
SynthDef's = Synth Defination : Templates or blue prints that are usually used to describe the structure of a synthesiser, namely the component unit generators that are arranged into some form of synthesis device.

Code for SynthDefs examples

Transmission code

Receiving Code

References:
1)Haines, Christian."Creative computing : Semester 1, Week 6. Synthesisers and Definitions." Lecture presented at the Electronic Music Unit, University of Adelaide, South Australia, 5/04/2007.
(2)McCartney , James et al 2007,SuperCollider Inbuilt Help.
(3)Source Forge,http://supercollider.sourceforge.net/
(4) SuperCollider Help Book

Mondays at Exeter

2007-04-15T14:12:00.000+09:30

"Seeing Orbo" - Live at the Exeter, every monday in April @ 8.57 pm till midnight..
{246 Rundle Street, Adelaide}

"Seeing Orbo" - {Acoustic fusion^world^folk^pop ,from the familiar to the exotic,songs of life,the dark and bright.The shadow and light of human experiences and existence..}

Declan Lorenzin- vocals,flutes & reeds
Max Lorenzin- vocals, guitar
Vinny Bhagat- world percussions
Kym Gluyas - saxophone

WEEK 5

2007-04-02T16:08:00.000+09:30

Creative Computing : Week 5 - Unit Generators

Task : Create a synthesiser code patch that demonstrates your understanding of unit generators. The code patches will need to select a form of synthesis (such as FM, AM,Additive etc) and integrate the base components of a synthesiser including pitch,amplitude and modulators.

Click here to download the code.

References :
(1)Haines, Christian."Creative computing : Semester 1, Week 5. Unit Generators." Lecture presented at the Electronic Music Unit, University of Adelaide, South Australia, 29/03/2007.
(2)McCartney , James et al 2007,SuperCollider Inbuilt Help.
(3)Source Forge,http://supercollider.sourceforge.net/
(4) SuperCollider Help Book

--------------------------------------------------------------------------

Audio Arts : String Recording
String instruments represent a group of instruments whose sound is produced by a string vibrating in a resonant body, chamber or sound board. The physical structure and playing mechanisms vary significantly between violins, viola, cellos, guitars and pianos.The manner in which they are played varies and includes techniques like bowing, plucking, striking, scraping or a magnetic field.
One of the most important characteristics shared by all instruments in the string family is the wide range of tonal colours that different instruments are capable of producing. This is principally due to the individual qualities of the wood used in their construction, the details of their internal design and the skill and technique of the performer.
The best position for the microphone is far easier to understand than to know how the particular instrument works .However,in order to be highly succesful, learning the frequency spectrum of the instrument, where and how the sound is produced, how it radiates into the room will help you in making better decisions.

Recording Example : For my recording exercise I invited Ruth Saffir - Lecturer in Cello and Pedagogy at the Elder Conservatorium of Music and the President of the Dalcroze Society of South Australia.She is a cellist with many years' experience as a performer and teacher. Contact : (ruth.saffir@adelaide.edu.au)

I remember the first time I met Ruth was outside the Elder Office. My first day of uni and she took me to level 5 (EMU) and introduced me to christian. She was my Aural teacher last year , helping me train my ears. Thank you very much Ruth, for coming to the studio and helping me out.

Microphones Used :
Beta 52 : close miked to the f -hole , left of the player
AKG 414 : close miked to the f -hole , left of the player
Newman Kmi : little far as compared to AKG from the f -hole , right of the player.
U 87 : Room microphone, 3-4 metres infront of the player at ear level.

The most levels I have used in the mix is Beta 52 and U-89, whereas the other micophones are nearly half of their levels.It sounded too bright and detailed when close microphones were up.The scratch recording I initially did, ruth pointed out it be really "dry" but then room microphone levels were quite less and it was placed parallel to the instrument nearly 4-5 metres way.After changing its placement and giving it a little more gain , I tend to really like the warmness and space reverbrations.

References :

(1)Grice, David.2007.Tutorials on Audio Arts (3).27 March'07.University Of Adelaide.2007
(2) Readings on My Uni.Music Technology(3)2007.
(3)Robjohns, Hugh 1999, Strings Attached, Sound on Sound, viewed 2/4/ 2007,
http://www.soundonsound.com/sos/apr99/articles/recstrings.htm

WEEK 4

2007-03-26T16:17:00.000+09:30

Audio Arts : Recording Wind Instruments : Wind instrument contains some type of resonator (usually a tube), in which a column of air is set into vibration by the player blowing into (or over) a mouthpiece set at the end of the resonator. The pitch of the vibration is determined by the length of the tube and by manual modifications of the effective length of the vibrating column of air.
Microphone placement depends very much on where most of the sound comes from. Learning the basic charaterstics and dynamic range of the instrument will help you in making your decisions about the choice of the microphone and its placement."Condensor microphones with a cardiod pattern will normally give you satisfactory results"(1).However, play with your creative ideas until it sounds what you want..
Lecture Notes : Kym arrives at EMU with his tenor and baratone..We started with learning the sweat spots of the room, a general idea of the instrument and different microphone placements .It is quite interesting how different microphones produced different timbre. Combination sounds of Sm 57,Beta 56, Beta 52, U-89 gave interesting results.
However for this recording I invited Imm Cielens
..(Click his name to listen to the recording)

Microphones Used:
Sm58 - pointing at the bell ,nearly 1 metre away,
AKG 414 - lower in height and pointing towards the bottom holes
Beat 52 - Along side AKG, pointing the holes
U-87 - Room microphone, infront of him, at his ear level

Trombone Recording : I invited Kara to the play for me..(Click her name to hear the recording.)
Microphone Used :
Sm 56 - pointing the bell, about 1.5 metres away at an off axis angle
AKG 414 - pointing the bell, about 1.5 metres away, quite straighter( main microphone)
Beta 52 - pointing the bell, about 1.5 metres away at an off axis angle
U-87 : Room Microphone , at her ear level from the back

References:
(1)Readings on My Uni.Music Technology(3)2007.
(2)Grice, David.2007.Tutorials on Audio Arts (3).20 March'07.University Of Adelaide.2007

WEEK 3

2007-03-15T17:00:00.000+10:30

Audio Arts : Percussion Recording

Examples : Click on the desription to hear the recording.
All sound recordings copyright Shivna Kaun @ 2007

Mallets ,
Hot Rods ,
Sticks(1) ,
Sticks(2) ,
Tabla

Getting a good sound from an acoustic dum kit has always been a challenge. I cant express how much a good sounding kit can contribute to a track.I believe one of the reasons for musicians using sequenced drum tracks is the lack of quality acheived from acoustic kit especially in a low budget or in home studios. Follow some of these measures and get most out of your beautiful drums.
To start with, make sure your skins are fairly new and are tuned accordingly.All the nuts are tight and are not in contact with any another drum as this will produce undesirable noise.There are various techniques which one can apply depending on style/genre/skill of the player.When recording a rock or metal band the focus lies on giving as much detail whereas a jazz player would like more acoustic properties of the space blended with the sound of his kit.The same applies to classical players or world musicians.

Close Miking: This is a very common practise for live situations in larger venues and is very often used in recording studios. Each drum of the kit is closely and separately miked giving you every possible detail.
Always follow the 2 finger rule I.e place the microphone nearly 2 fingers above the top skin.

Note : Always follow one standard order of patching the cables in the platchbay.Here is the orer that I like to follow
1- Kick , 2 - Snare Top, 3 - Snare bottom , 4 - High tom . 5 - MidTom . 6 - Low Tom , 7 - Hi Hats , 8 - Left Overheads . 9 - Right Overheads , 10 - Room Microphone.

Kick: Hole mounted, not touching; 15-20 cms from the skin.Applying correct padding is very important as this will contribute largely on the thickness and punch of your bassdrum.Make sure you pedal is not making any unnecesssary noise.
Microphone choice: Beta 52 is ideal choice, alternately you can use AKG's or Sen MD421 if thats not available.

Snare: Snare requires a mic that can handle very high SPL so a dynamic microphone is usually chosen. To avoid picking up the hi-hat in the snare mic, aim the null of the snare mic towards the hi-hat.We applied another microphone at the bottoom of the snare to capture the vibrations produced by bottom skin from the snares.This can give you interesting results as the gros notes would be more audible. But, remember the phasing issue caused by microphones facing each other.Inverting this track would correct it .A combination sound of both the microphones would give you a desirable result.
Microphone choice: Shure Sm57, 58 , Sen 825

Toms: Having individual microphones for both your toms will give you more flexibility,again, apply 2 finger rule.
Or you can use(depending on the genre of music) one microphone with a wider polar pattern between 1st and 2nd Tom, close to the head (approx 5-10cms depending on how it is sounding). Alternately one can use NT4, as it would give each mono channel for both the toms.
Have an individual microphone for your floor tom and apply similar techniques.
Microphone choice : Beta 57A, I applied Beta 52 to the low tom for a more thicker sound.

Overheads : Cymbals (ride, crash, splash, china, hi hats): The brilliance and high frequencies of cymbals are picked up best by a flat response condenser mic. Two condenser microphones panned hard left and right at a reasonable height above the toms.
Microphone choice: NT5, Newman K57i.

This would give the stereo image of the recording source. Also, a pair of microphones at a distance captures instrument timbres more accurately than close up mics. Close-miked instruments sometimes sound too bright, edgy, and detailed.This is what the player has to decide depending on the genre of music he is playing and the sound he is after.

Choice of Microphones: Omni, condenser with a large diaphragm about 1.5-3 meters from each other. Microphones like NT5's capture the high ends really well.Also you can use U87/89; AKG C414

Room Microphone : Always have a room microphone placed at the sweet sounding spot in the room.This will capture the reverbrations and the fullness of the room.. For away from the kit,listen to the room and place it ,where it sounds best. Newmans U87/89 are usually the best room microphones.

Panning the Drums : Panning will help you in projecting the correct image of the kit.Imagine the kit from the perspective of the listner and pan it accordingly. Remember , its the other way round of how the player will perceive it. For e.g. Hi tom is panned to approx 80 % right and Low toom approx 70% left.Whereas your overheads are panned hard left and right.Imagine the placements of each drum and pan it,as it exists in the physical world.

Drum kit is what drives the music together with the bass player.Spend as much possible time on getting just the right sound you are after.
Apply correct microphone placement techniques with "just" the right gain structure.
{Good Luck..!}

References :
(1)Grice, David.2007.Tutorials on Sound Engeneering (3).13 March'07.University Of Adelaide.
(2)Readings on My Uni.Music Technology(3)2007.

Creative Computing :
* Server Architecture,
* Open sound control ,
* Interconnected musical networks

Forum : David Harris and his orchestra : Quite a lot of fun actually ..

WEEK 2

2007-03-13T08:40:00.000+10:30

Audio Arts :Multi Micing (2)

Recording in 5.1 Surround Sound :The best known spaced-mic arrangement is probably the so-called 'Decca Tree' using three large-diaphragm
omnidirectional mics arranged at the ends of an inverted T, typically measuring roughly two metres across and 1.5 metres deep. However, there are many alternatives and variations including the Faulkner Array and binaural techniques such as the Jecklin Disc
*Faulkner Array belongs with the spaced array stereophonic recording systems, where only the time of arrival difference is involved in the distribution of phantom sources across the loudspeaker base-line.
*A Jecklin Disk is a sound-absorbing disk placed between two microphones to create an acoustic "shadow" from one microphone to the other. Always, a matching pair of omnidirectional microphones are used.

The Ambisonics approach is equivalent to the stereo coincident system, and a spaced surround array is the equivalent of the Decca Tree.

Reference :
(1)Grice, David.2007.Tutorials on Sound Engeneering (3).5 March'07.University Of Adelaide
(2)(3) Readings on My Uni.2007.
https://myuni.adelaide.edu.au/webapps/portal/frameset.jsp?
tab=courses&url=/bin/common/course.pl?course_id=_172363_1&frame=top
(3)http://www.sengpielaudio.com/TonyFaulknerPhasedArray06.htm ,12 March'07
(4)http://en.wikipedia.org/wiki/Jecklin_Disk ,12 March'07

"Music of Spheres" -Adelaide Fringe 2007

2007-03-09T15:56:00.000+10:30

"Music of the Spheres" - Live at the Adelaide Planetarium. 23,24 25 March'07 @ 7.30 pm , $23
'There is geometry in the humming of the strings.There is music in the spacings of the spheres.- Pythagoras (580-500 BC).

Lying back on comfortable chairs experience the heavens open before you in a breathtaking visual-musical performance. You will be immersed into the colour and sounds of the outer reaches of the universe. As you become enveloped into the 'Music of the Spheres. A performance that truly expresses the music of the spheres in the 21st Century, using actual real sounds and visuals from space

Proudly brought to you by :

Darren Curtis : Artistic director/Performer,
Bradley Pitt : Amateur astronomer,
Martin Lewicki : Planetarium presenter,
Vinny Bhagat; : Performer/Technical Support

Week 1

2007-03-05T13:59:00.000+10:30

Creative Computing : Introduction to Super Collider :

Task of the week : "Create a function that takes two arguments - (1) pitch class and octave number - and produces the corresponding the MIDI note number. (2) Create a function that can convert the pitch class and octave number into its corresponding MIDI Note number and then into its corresponding frequency."

I am still working on writing the code for this..I can clearly understand what i have to do but writing that in supercollider is a bit difficult right now..,However I am not very far from it.. (2.40pm, 7march'o7)

Key concepts:

Pitch class : {Cn} = { C-2, C-1, C0, C1, C2, C3 ...}

var Pitch class = [ C-2, C-1, C0, C1, C2, C3, C4 , C5 , C6 , C7 , C8 ]

var midi note names = [ [ 0, 12 , 24 , 36 , 48 , 60 , 72 , 84 , 96 , 108 , 120 ]

pitch class = midi note name

var semitones = [0 , 1 , 2 , 3 , 4 , 5 , 6 , 7 , 8 , 9 , 10 , 11 ]

var note names = [C , C# , D , D# , E , F , F# , G , G# , A , A# , B ]

semitones = note names

A3 = 440 HZ, which is midi note no 69

var frequency = [ A0 , A1 , A2 , A3 , A4 , A5 , A6 ]= [55 , 110 , 220 440 , 880 , 1720 , 3520 , 7040 ]

I need an algorhythm to relate all these concepts .. I am thinking...!!

expr (440. * exp(.057762265 * ($f1 - 69.))); -- How do i put this algorhythm into supercollider ??
---------------------------------------------------------------------------------
Audio Arts:
Sound Engineering (3) as this component is called aims to covers a wide range of topics..I am glad we have a list of areas we will be covering each week..To start of, wk 1 is about Multi Micing..

Why record Stereo ? "The principle of binaural recording is to replicate the way our ears capture sounds, and replay those sounds directly into the corresponding ears(1)."
It preserves depth, perspective, and hall ambience -- all when you use several closeup mics, panned into position..Further, a true stereo recording conveys
* the depth or distance of each instrument
* the distance of the ensemble from the listener (the perspective)
* the spatial sense of the acoustic environment--the ambience or hall reverberation.

Goals of stereo Micing : " Accurate localization", i.e. "the reproduced instruments should appear in the same relative locations as they were in the live performance".

Polar patterns : Get familair with all the polar patterns and their uses before learning the various stereo microphone techniques..

* Half-omnidirectional or hemispherical: Picks up equally over a 180 spherical angle.
{All of the following patterns are considered unidirectional because they pick up mainly in one direction.}

* Cardioid: “Heart-shaped” pattern that offers maximum rejection (null) at the rear of the microphone.
* Supercardioid: Has a narrower pickup pattern than cardioid, but also has some rear pickup. Note that there are two nulls of maximum sound rejection.

* Hypercardioid: Has a narrower pickup pattern than supercardioid, but also has more rear pickup than supercardioid. Note that there are two nulls.

* Bidirectional (figure-eight or cosine): Picks up mainly in two directions (in front of and behind the mic) and rejects sound from the sides.

Various Stereo Microphone Techniques :

* Spaced Pair :

* Coincidnt pair or XY/intensity streo method :

Method : 2 directional microphones mounted over top with diaphragms one above another,nearly touching,angled apart towards the left and right side of the recording source.."The greater the angle between microphones, and the narrower the polar pattern, the wider the stereo spread". (quotes taken from readings on my Uni )

* Mid side : click here to listen to the recording example
Location : EMU
Track : "Om Jai" using mid side technique

* Near Coincident pair

* Baffled Omni Pair

*******{Recordings coming very soon }

References:
(1) http://www.soundonsound.com/sos/1997_articles/mar97/stereomictechs2.html
5March'07
(2)Grice, David.2007.Tutorials on Sound Engeneering (3). 27 Feb'07.University Of Adelaide.
(3) Readings on My Uni.2007.
https://myuni.adelaide.edu.au/webapps/portal/frameset.jsp?tab=courses&url=/bin/common/course.pl?course_id=_172363_1&frame=top
(4) http://www.crownaudio.com/mic_web/tips/mictip2.htm 5 March'07

BAck to UNI - Final semester

2007-03-05T13:53:00.000+10:30

The final semester for my study in Adelaide..
Doesn't feel like 3 years.. Time really flies.. I am really excited about things,esp visiting delhi, with a whole new experience, alot of memories and an everlasting love for my artNmusic.
Thanks to all the beautiful people responsible for this.

Here is the list of courses I am currently enrolled in..

*Music Technology 3
*Music in Context: Jazz 3
*Music in Context : Music since 1900( classical theory 3)
*Computer Science 1A

Music & Narrative

2007-03-01T23:00:00.000+10:30

Music and Narrative : The art of story telling through Music..

“Is not music the mysterious language of a distant realm of spirits, whose lovely sounds recho in our soul and awaken a higher, because more intensive life" ?

Click here to read my full paper for Foundation for Honours..

Wk 13

2006-11-02T14:40:00.000+10:30

My Malets exam :I never wanted to give such a performance to jim..I could not answer some really basic questions.At first he asked me to play "Take the A train" - i couldnt play the melody,i played the chord changes, were they right, may be..he asked me to play "straight no chaser" - i stoped 3 times stil couldnt play the run which connects the head.Well, i played the chord changes..Then he asked me few questions about modes, which i answered then all right..he asked me few other analysis questions some of them were right and the others were just guesses..i wasnt sure about the mode which fits with f#-7b9..Whats the difference between 8 note dominant and atlered sclale, i was just guessing, he knew it, he didnt asked me anything else, he said "you are done, you may go....."

Miles Davis

2006-10-27T18:06:00.000+09:30

“I'm always thinking about creating. My future starts when I wake up every morning . . . Every day I find something creative to do with my life.
”
Miles Davis { b May 25, 1926 }

It's always been a gift with me, hearing music the way I do. I don't know where it comes from, it's just there and I don't question it.”- Miles Davis

( Bandleader, Composer,performer - Trumpet, Flugelhorn, Organ)

These quotes are so inspiring and so are is the image drawn by miles which is called "jazz"..

Quotes from his website -- " Miles Davis was the "Picasso of Jazz," reinventing himself and his sound endlessly in his musical quest. He was an artist that defied (and despised) categorization, yet he was the forerunner and innovator of many distinct and important musical movements."
In his autobiography, Davis stated that this criticism was made because no critic could categorize this music and complained that On the Corner was promoted by the "traditional" jazz radio stations, therefore not to young African-americans. Miles himself thought that the record would be "something for black people to remember me by".

On the corner was released in 1972 – I hope I was born in 70’s, the time I have never seen ..!!
Davis refused to be confined by the expectations of his traditional audience or music critics, and continued to explore the possibilities of his new band. As he stated in his autobiography, he wanted to make music for the young afro-american audience. On the corner showed a seemingly effortless grasp of funk without sacrificing the rhythmic, melodic and harmonic nuance that had been present throughout his career. The album also showed the influences of Paul Buckmaster's studio arrangements and Stockhausen in its layered recording and post-production editing. The album was highlighted by the appearance of saxophonist Carlos Garnett. The record provoked fierce arguments from many critics, with one British critic noting: "I love Miles, but this is where I get off."
In the early 1970s, Miles kept experimenting with the electric instruments and fusing more funk into his music. In 1976, a combination of bad health, cocaine use, and lack of inspiration caused Miles to go into a 5-year retirement. He conquered his cocaine habit, received new inspiration and returned in 1981 and made a series of records . He did keep pushing music, as he was not one to rest on his feet and play his old music. He started experimenting more with synthesizers and using studio techniques in his recordings. He won a series of Grammy Awards during this decade and continued turning out sidemen, such as Garrett, Stern, and Berg,. Miles Davis died in 1991.

Week 12

2006-10-26T21:39:00.000+09:30

Game Project:My game project has been quite a learning experience for me and esp working with Marcus Kennedy,a dedicated/creative 3D graphic artist.Although I am still relying on still images,my perception of the game seems to get a little better than before.I would like to have a short animation of the game which familiarises me as how the enviornment will look like.The good news is that my group will have a single level playable demo of the game by the end of this year.
Player character "Vess":
Enemy "Oranju":

{Images copyright @ Emergence Games}

-------------------------------------------------------------------------------------
Tuesday was the day for my Foundation for honours presentation on the hot topic "Narrative and Music" -- The art of story telling through music.Everything came out really naturally,I certainly had a lot to say about it and that's why I went 5 mins overtime(that is bad,i forgot to start my stopwatch and obviously then lost the time) .The sound system in Hartley 108a should be now in Adelaide Heritage Musuem ,it is horrible.If given the authority I am quite happy to transport it there.

Creative Computing :Processing (3)
*Comb filtering
*Configuring MSP via the DSP object

Comb filter: Simply a filtering delay line."The comb~ object implements a comb filter, in which a slightly delayed version of a signal is added to itself, causing phase cancellations and a spectrum that looks like a comb". The filter implements the following formula:y[n] = a * x[n] + b * x[n - delay] + c * y[n - delay]

Karplus strong - string/plucked metal sounds

Basics of Granular Synthesis:"The grain is a unit of sonic energy possessing any waveform, and with a typical duration of a few milliseconds, near the threshold of human hearing. It is the continuous control of these small sonic events (which are discerned as one large sonic mass) that gives granular synthesis it's power and flexibility"(1).(Kuehnl, Eric).A basic grain generating device would consist of an envelope generator with a gaussian curve driving a sine oscillator.

Check out Nathan Wolek's site on granulation: www.nathanwolek.com

-------------------------------------------------------------------------------------
Well nothing seems to change much,besides no on really tries anything.I need to change alot of things in me and around me which would probably help me for the rest of my life.Things have changed or rather I have changed.I know why is that but was anything in my hands.I was helpless but to give my time for work(work other than music) and besides my constant effort of it not affecting me,it has screwed me.I am scared to do that again.The time has gone anyway but I look forward to cover up everything which I have lost in this time.

References
(1)Kuehnl, Erich.2006.Paper On granulation.http://music.calarts.edu/~eric/gs.html
(2)Haines,christian.2006.Practicals on Creative Computing:Max/Msp.University Of Adelaide.
(3)Msp~ Tutorials and Topics.2006.Cycling 74
(4)Emergence Games.2006.Reference still Images of characters.

Week 11

2006-10-25T17:32:00.000+09:30

Creative Computing:Msp
Processing (2) : Other delay line derivative effects such as chorus, flange, etc.
Building Graphical Interfaces :Check out www.guistuff.com

Delay line Objects:
tapein~ :Input to signal delay line.It receives a signal in and copies into a delay line.
tapout~ :Output from signal delay line.It outputs a delayed signal that was fed to tapin~. It has one or more inputs to specify delay time and a signal output and you connect a tapin~ object to one or more tapout~ objects.

Note:"Different materials absorb sound to varying degrees, and
most materials absorb sound in a way that is frequency-dependent. In
general, high frequencies get absorbed more than low frequencies".

Controlling Amplitute: The normalize~ object allows you to specify a peak (maximum) amplitude that you want to sent out its outlet. It looks at the peak amplitude of its input, and calculates the factor by which it must scale the signal in order to keep the peak amplitude at the specified maximum. So, with normalize~ the peak amplitude of the output will never exceed the specified maximum.

Patch for Delay line Feedback: Set dry/wet levels,R & L Delay level,R & L direct Level,R & L Delay time and R & L Feedback time.

#P window setfont "Fixedwidth Serif" 10.;
#P window linecount 1;
#P message 19 240 14 1441802 0;
#P newex 19 219 53 1441802 loadbang;
#P newex 337 414 54 1441802 *~ 0.2;
#P newex 192 442 40 1441802 *~ 0.2;
#P window setfont "Sans Serif" 9.;
#P message 355 457 29 196617 stop;
#P message 286 457 67 196617 startwindow;
#P newex 192 484 48 196617 dac~;
#P window setfont "Fixedwidth Serif" 10.;
#P newex 148 387 31 1441802 *~ 1;
#P newex 337 385 32 1441802 *~ 1;
#P window setfont Times 10.;
#P comment 367 347 82 1310730 Right Direct Level;
#P window setfont "Fixedwidth Serif" 10.;
#P flonum 359 363 69 10 0. 1. 3 22 0 0 0 221 221 221 222 222 222 0 0 0;
#P flonum 169 362 62 10 0. 1. 3 22 0 0 0 221 221 221 222 222 222 0 0 0;
#P window setfont Times 10.;
#P comment 153 341 77 1310730 Left Direct Level;
#P user hslider 56 265 18 76 101 1 0 0;
#P window setfont "Fixedwidth Serif" 10.;
#P newex 56 288 43 1441802 * 0.01;
#P window setfont Times 10.;
#P comment 57 249 23 1310730 Dry;
#P comment 125 247 22 1310730 Wet;
#P window setfont "Fixedwidth Serif" 10.;
#P newex 56 313 68 1441802 expr 1-$f1;
#P window setfont "Sans Serif" 9.;
#P comment 235 341 78 196617 Left Delay Level;
#P window setfont "Fixedwidth Serif" 10.;
#P flonum 245 362 62 10 0. 1. 3 22 0 0 0 221 221 221 222 222 222 0 0 0;
#P window setfont "Sans Serif" 9.;
#P comment 463 347 85 196617 Right Delay Level;
#P window linecount 2;
#P comment 210 235 47 196617 Left Feedback;
#P window setfont "Fixedwidth Serif" 10.;
#P flonum 464 363 62 10 0. 1. 3 22 0 0 0 221 221 221 222 222 222 0 0 0;
#P window setfont "Sans Serif" 9.;
#P window linecount 1;
#P newex 447 387 27 196617 *~;
#P newex 307 386 27 196617 *~;
#P message 338 39 29 196617 stop;
#P message 269 39 67 196617 startwindow;
#P newex 269 82 31 196617 adc~;
#P comment 191 146 81 196617 Left Delay time;
#P flonum 428 158 62 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P flonum 378 233 62 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P newex 361 261 27 196617 *~;
#P newex 361 200 56 196617 tapout~ 1.;
#P flonum 202 214 62 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P newex 269 240 27 196617 *~;
#P newex 269 199 56 196617 tapout~ 1.;
#P flonum 200 160 66 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P newex 361 158 65 196617 tapin~ 1000;
#P newex 269 159 65 196617 tapin~ 1000;
#P comment 411 143 81 196617 Right Delay time;
#P window linecount 2;
#P comment 392 250 45 196617 Right Feedback;
#P connect 39 0 40 0;
#P fasten 40 0 27 0 24 262 61 262;
#P connect 27 0 26 0;
#P connect 26 0 23 0;
#P fasten 13 0 33 0 274 106 153 106;
#P fasten 23 0 29 0 61 356 174 356;
#P fasten 29 0 33 1 174 382 174 382;
#P fasten 33 0 37 0 153 423 197 423;
#P fasten 37 0 34 0 197 472 197 472;
#P fasten 36 0 34 0 360 478 197 478;
#P fasten 35 0 34 0 291 478 197 478;
#P fasten 16 0 37 1 312 422 227 422;
#P fasten 38 0 34 1 342 451 235 451;
#P fasten 26 0 21 0 61 309 250 309;
#P fasten 15 0 13 0 343 68 274 68;
#P connect 14 0 13 0;
#P fasten 13 0 2 0 274 117 274 117;
#P fasten 6 0 2 0 274 263 186 263 186 120 274 120;
#P fasten 4 0 5 0 205 187 274 187;
#P fasten 2 0 5 0 274 187 274 187;
#P connect 5 0 6 0;
#P fasten 7 0 6 1 207 232 291 232;
#P fasten 5 0 16 0 274 223 312 223;
#P fasten 21 0 16 1 250 381 329 381;
#P fasten 13 1 32 0 341 99;
#P connect 32 0 38 0;
#P fasten 23 0 30 0 61 339 364 339;
#P fasten 30 0 32 1 364 381 364 381;
#P fasten 13 1 3 0 295 126 366 126;
#P fasten 9 0 3 0 366 293 354 293 354 148 366 148;
#P fasten 11 0 8 0 433 196 366 196;
#P connect 3 0 8 0;
#P connect 8 0 9 0;
#P fasten 10 0 9 1 383 254 383 254;
#P fasten 17 0 38 1 452 409 386 409;
#P fasten 8 0 17 0 366 226 452 226;
#P fasten 26 0 18 0 61 309 469 309;
#P connect 18 0 17 1;
#P window clipboard copycount 41;
-------------------------------------------------------

Forum : One inspiration in my group is tyrell's idea of improvising with a film.Dont know if that has worked but certainly it is different form my past approach.I have certianly used the narrative theory in shivna kaun performances and now playing for films narrative is yet another spontaenity of thought.What ever I say its been an experience and the desire of playing together with the people in this group strongly exists in me.Somehow the energies are quite dull and I dont see any bond besides the fact that I really like their individual tastes and music making.

Second half of the forum was quite interesting, Luke Harrald talked about his trip last year to IRCAM and his intensive summer CCmix course at Xenakis’s EMF institute.
The 2006 International Conference on New Interfaces for Musical Expression is the 6th conference on new musical interface design and technology hosted by IRCAM - Centre Pompidou,in Paris.The 7th International Conference is organized by Harvestworks and New York University's (NYU) Music Technology Program in partnership with the NYU Interactive Telecommunications Program (ITP).The conference will take place June 7-9, 2007 in New York City.

References
(1)Haines,Christian.2006.Practicals in Creative computing: Max/Msp.University Of Adealaide.
(2)Msp Tutorials and Topics.2006.cycling 74
(3)Harrald,Luke.Guest Speaker in the forum.University Of Adelaide.2006
(4)http://itp.nyu.edu/nime/2007/

Week 10

2006-10-25T17:12:00.000+09:30

Creative Computing: Msp
Processing:Key areas covered
*Plugin Creation
*Frequency domain processing
*Delay line and control

Plugin~:Define a plug-in's audio inputs
Plugout~:Define a plug-in's audio outputs
Note: Alway write the extension after the name of the plugin i.e .vst otherwise it will show the file as a run time document.
PP: pligin parametres{index(always at 1),name,min adn max value,unit}
eg.: pp 2 gain .1 1.0

Resonance patch :3 parametric controls {Gain,frequency,Q}
#P outlet 29 264 15 0;
#P inlet 27 81 15 0;
#P window setfont "Sans Serif" 9.;
#P number 294 138 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P window linecount 1;
#N pp 3 Q 1. 100;
#P newobj 294 113 71 196617 pp 3 Q 1. 100;
#P newex 47 264 60 196617 plugout~ 1;
#P number 105 145 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P number 190 142 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#N pp 2 freq 1. 1000;
#P newobj 190 114 90 196617 pp 2 freq 1. 1000;
#N pp 1 gain 0. 1.;
#P newobj 105 115 74 196617 pp 1 gain 0. 1.;
#P newex 47 195 53 196617 reson~;
#P newex 47 80 60 196617 plugin~ 1 2;
#P fasten 1 0 10 0 52 250 34 250;
#P connect 0 0 1 0;
#P fasten 9 0 1 0 32 102 52 102;
#P connect 1 0 6 0;
#P fasten 2 0 1 1 110 140 102 140 102 140 66 140;
#P fasten 4 0 1 2 195 165 183 165 183 178 80 178;
#P fasten 8 0 1 3 299 160 290 160 290 187 94 187;
#P fasten 5 0 2 0 110 164 100 164 100 101 110 101;
#P connect 2 0 5 0;
#P fasten 4 0 3 0 195 168 180 168 180 97 195 97;
#P connect 3 0 4 0;
#P fasten 8 0 7 0 299 162 288 162 288 105 299 105;
#P connect 7 0 8 0;
#P window clipboard copycount 11;

Here is the plugin tester patch :

#P window setfont "Sans Serif" 9.;
#P window linecount 1;
#P message 620 125 14 196617 1;
#P message 602 126 14 196617 0;
#P message 532 167 26 196617 plug;
#P message 680 230 29 196617 stop;
#P message 610 231 67 196617 startwindow;
#P newex 569 254 31 196617 dac~;
#N vst~ loaduniqueid 0 none;
#P newobj 569 199 79 196617 vst~ none;
#N sfplay~ 1 120960 0 ;
#P newobj 568 163 44 196617 sfplay~;
#P message 568 126 30 196617 open;
#P fasten 2 1 3 1 587 235 595 235;
#P fasten 7 0 1 0 607 152 573 152;
#P fasten 8 0 1 0 625 152 573 152;
#P fasten 6 0 2 0 537 190 574 190;
#P fasten 5 0 3 0 685 250 574 250;
#P fasten 4 0 3 0 615 250 574 250;
#P connect 2 0 3 0;
#P connect 1 0 2 0;
#P connect 0 0 1 0;
#P window clipboard copycount 9;

fft~:Perform an FFT (fast Fourier transform) on a signal
"The French mathematician Joseph Fourier demonstrated that any periodic wave can be
expressed as the sum of harmonically related sinusoids, each with its own amplitude and phase.If the number of digital samples in each time slice is a power of 2, one can use a fasterversion of the DFT known as the fast Fourier transform (FFT)".
ifft~:Perform an Inverse FFT (inverse fast Fourier transform) on a signal.
pfft~: spectral domain signal processing chain.It sets up its own signal chain for the processing of frequency-domain signals.
------------------------------------------------------------------------------------
An honest Forum Feedback:I regret to write this as I never like to complain but this was the first time in my entire life i felt i was forcing myself to play.. I am not sure whom to blame for this, may be its just something within me which is changing but believe me it was horrible..I am missing those times when everything came up so naturalIy and it just gave me this energy to have fun with it..
Bad vibes please stay away from me, I dont need you,,go and die somewhere..
This improv group is a pain in my ass now,,believe it or not its not fun anymore,,I will play only for the sake of stephen otherwise I am not interested in this crap..I am sorry if i am annoying you, I am only telling you the truth and i felt that this had to come out from me and its there now... I was really excited about my group in the begining as this is something I am highly interested in but the whole excitment is over now..I dont feel anything for this anymore..I still look forward for the performance,I know it will be fun.I guess I will be able to attract positive vibes from the audience..
(I am posting this after nearly 1.5 months of a draft.There is no point hiding the truth.I will be quite happy to hear back from anyone who wants to know more insight into the story..)

References:
(1)Haines.Christian.2006.Practicals in creative Computing Max/Msp.University Of Adelaide.
(2)Msp Tutorials and Topics.2006.cycling 74

week 9

2006-10-05T18:02:00.000+09:30

Quote of the day : "Music a cultivation of sound through emotion and expression"(1)

Tip of the day:Communication and relationship with the director -- Get in to the head space of the director.Know exactly from the director the emotional side of scene, characters through his creative and imaginative words.Everything possibly which would help you in writing music for his film.
I have been working for one of Tamas Major's film.He has kept everything quite open to me,regarding what I should do with the film but somehow the temp track is pushing me towards this more generic techno pub oriented music.I have given him one version of the sound track but I am realy not happy with my work,I have to write something for it more expressive,which is currently not happening..
----------------------------------------------------------
Creative Computing: Msp~
More insight into Poly~ object
Additive synthesis : A simple summmative addition of waveforms to make complex tones)
pack:Make numbers or symbols into a list.
Patch for vb.poly : 3 parametric modulations frequency,phase,amplitute.
#P window setfont "Sans Serif" 9.;
#P window linecount 1;
#P comment 98 65 27 196617 amp;
#P comment 64 66 32 196617 phase;
#N out 1;
#P newobj 38 http://www.blogger.com/img/gl.link.gif171 33 196617 out 1;
#P newex 38 138 68 196617 *~ 0.5;
#N in 3;
#P newobj 96 79 25 196617 in 3;
#N in 2;
#P newobj 67 79 25 196617 in 2;
#N in 1;
#P newobj 38 79 25 196617 in 1;
#P newex 38 109 39 196617 cycle~;
#P comment 38 65 25 196617 freq;
#P connect 2 0 1 0;
#P connect 1 0 5 0;
#P connect 5 0 6 0;
#P connect 3 0 1 1;
#P connect 4 0 5 1;
#P window clipboard copycount 9;
--------------------------------------------------
Presentation at the Forum: DJ TR!P is an Adelaide based electronic music composer. TR!P works as a disc jockey, a remix artist, workshop tutor and works for numerous major theatre & dance companies around Australia. He studied Music Technology at Flinders School of Music. and as a live performer he has played at major festivals & events nationally & internationally.
Tr!p talks to carclew : "As an artist I explore and distill sonic textures. These sounds reveal an environment clouded by layers of frequencies and definition.I investigate deeper soundscapes, visiting the sublime and then return, audio reaching swallowed ambience to a create a very disturbed electronica. My work narrates fairytales of darkness, and the dirt in which organised noise-fruits thrive!"

References:
(1)Bailey.Jim 2006.Practicals in Jazz Mallets.University of Adelaide.
(2)Haines.Christian.2006.Lecture for Audio Arts: Max/Msp.University of Adelaide
(3)http://www.carclew.com.au/artists/artist17.aspx
(4)http://www.djtrip.finder.net.au/

Week 8

2006-09-28T18:05:00.000+09:30

Guest performer at the Forum :
Dr. Chandrakant Sardeshmukh
What a great honour to play with such a legendary sitar player from India.
A brief insight of his life: He started his musical journey at the age of 4 and was soon recogonised as "a sheer prodigy" by Pandit Ravi Shankar,who then accepted him as his student. He had a rare privilege of studying traditional Indian Classical Music of Maihar Senia Gharana under the guidence of Shrimati Annapurnadevi Ravi Shankar, who is a gifted legendary Indian artist, being the daughter of Baba Allaudin khan and wife of Pandit Ravi Shankar.
It a previlage to even attempt to write these names.Needless to say anything about them and Dr.Sardeshmukh upbringing,a legend arrived at EMU and blessed us all.
------------------------------------------------------------------------
Audio Arts: Legal issues and Copyright ownership
Australian Copyright council
*communicate
*reproduction
*composer/performer
*publisher/record company
*Scheme of contractual variations: Creative Commerce
-----------------------------------------------------
Creative Computing:Msp
More ojects we looked at besides poly and poly~
thispoly~:Reports poly~ instance number, controls voice allocation and muting.Free's the voice when value equals zero.At the end of the patch,the patch chord goes in thispoly~.
zl:all-in-one things list
iter:Unpacks lists one element at a time through its outlet
counter:Counts bangs at its left input.

References:
(1)Sardeshmukh,Dr.Chandrakant .2006.Guest Presentor at the Forum.University Of Adelaide.14 September'06
(2)Haines,Christian.2006.Audio Arts lecture on Sound Design for Games.University Of Adelaide.12 september'06.
(3)Haines,Christian.2006.Creative Computing lecture on Max/Msp.University Of Adelaide.14 september'06.
(4)Msp Tutorials and Topics.2006.Cycling 74
(5)http://www.darshanam.com/profile1.asp
official website of Dr.Chandrakant Sardeshmukh

Week 7

2006-09-17T18:04:00.000+09:30

Game Project : Emergence Games

My group has finally given me some visual clues of the game.The plot is as follows and the logo is nearly done.
This single player role-playing game is about upgrading a series of Driods or Bio Enhanced Mercs.You choose which missions you want to complete which gives you a path to follow and create a story line around the path.This provides exceptional re-playability.By choosing and completing missions from one faction,more missons path will become available to the player for that faction.Completing some missions for one faction may lead to opposing factions mission paths to become unavailable.
------------------------------------------------------------
Creative Computing
Main topics discussed:
Application Structure, GUI examination
• MIDI mapping in MSP
• MIDI control data and ranging sampler voice control

Introduction to poly and poly~
Poly: Poly does polyphonic voice allocation.
Poly~:Polyphony and DSP manager for patchers.It loads a specially-designed subpatch from disk (containing in~, in, out~ and out instead of the traditional inlet and outlet objects) once for each "voice" indicated by the value of the second argument.

(Java Script User Interface)jsui:The jsui object is a general purpose user interface object driven by javascript.

menubar : Puts up a menu bar of custom menus
Key:Report events from the computer keyboard.To look for specific keys, use key followed by select…here is the patch to allocate space bar for a specific function.
#P window setfont "Sans Serif" 9.;
#P window linecount 1;
#P newex 128 163 40 196617 key;
#B color 5;
#P newex 128 185 51 196617 select 32;
#P message 128 207 103 196617 You hit the space bar;
#P newex 128 227 36 196617 print;
#P connect 1 0 0 0;
#P connect 2 0 1 0;
#P connect 3 0 2 0;
#P window clipboard copycount 4;

Hint: pop-up floating hint/tooltip for user interface assistance..
----------------------------------------------------------------------

Forum Presentation : Derek Pasco
I have known derek for a fair while now and its amazing that he was the guest this week in the forum.First time I met him was at wheatsheaf hotel,he was playing his set for COMA.He used a quote by John Cage for one of his piece,"if something is boring after two minutes, try it for four. If still boring, then eight. Then sixteen. Then thirty-two. Eventually one discovers that it is not boring at all".But he didnt ackowledge the creator of this quote.I went up to him and said that I really liked your performance but why didnt you acknowledge john cage and he replied that he did has acknowledged him in the past,when ever he has used his quotes..Ah well my memories of not using quotations are still quite fresh and I have paid alot for that.I have certainly understood the need and obligation to admire anything you ever use which is not your own creative product.
Derek spoke alot about improvisation techniques in a group scenerio which I personally believe were quite self explainatery.All of them existed for their own purpose and if you want to go to a theoritical understanding of improvisation they are brilliant.If I ever feel I am lacking the ideas for my own improvisation group I will certainly look back at the handout.
There were some great bits in the group collective effort esp with what Marco was doing.I really liked his idea of using contact microphone,keys and measuring tapes.The sounds he was producing were quite fascinating and in a way quite organic.
"Music...has to do alot of areas which are magical rather than logical.
The great artists,rather than just getting involved with discpline,get to understand love and allow the love to take shape".

First three lines of the handout from Chapter 16 of Elements of Improvisation,which stephen gave us says it all.I hope my group understood this,rather I should say,everyone in my group understood this.Or even if they do,it only applies to their personel music making.My enthusisam seems to disapear day by day.I am forcing myself to be present there and feel a bond.Some people in this world would never allow their love to flow,rather all they can contribute to the society is the evilness of their frustrated soul.
Stephen,the idea of forming improvisation groups is brilliant.Please carry forward this tradition.Regardless of what I have stated in the lines above,the whole experience is still quite magical.

Refrences:
(1)Haines,Christian.2006.Audio Arts lecture on Sound Design for Games.University Of Adelaide.5 september'06.
(2)Haines,Christian.2006.Creative Computing lecture on Max/Msp.University Of Adelaide.7 september'06.
(3)Whittington,Stephen.2006.Handout on Techniques for Improvisation.University Of Adelaide.7 September'06
(4)Msp Tutorials and Topics.2006.Cycling 74
(5)Derek,Pasco.2006.Presentation a the Forum.University Of Adelaide.7 September'06

Week 6

2006-09-12T16:12:00.000+09:30

Game Design for "Synthetic Echo"

Assets list :

Menu
Music
Button click Sfx

In game
Music
Ambient sounds:
-Traffic
-Wind
-People shouting (cannot understand what they’re saying)
Automatic Rifle firing sfx
Grenade Launcher sfx (firing+pump action reload)
Explosion for grenade
Gunshot riccochett off cement/metal/dirt
Bullet hitting and lodging into flesh/armour
Heavy (male) sfx:
- Footsteps on cement
- Footsteps on grass
- Footsteps dirt/rubble
- Heavy leather and metal plating clanging while moving
Light (female) sfx
- Footsteps on cement
- Footsteps on grass
- Footsteps dirt/rubble
- Light fabric clothing while moving

Character Voices
Dez (male - heavy weapon specialist)
Heavy whisper, low tone, through breathing mask
- “Let’s get moving”
- “Here’s some chumps, let’s take em”
- “Taken him out”
- Being hit by bullet “urgh” several different versions
- Being killed “arghh”
Vess (female – stealth)
Strong, confident, sly, through communication device
- “Come on, we need to get moving”
- “Target sighted”
- “Another one down”
- Being hit by bullet “urgh” several different versions
- Being killed “arghh”

Ending Credits
Music

Week 5

2006-08-28T17:49:00.000+09:30

Film Design : Excerpt from Aliens
Recommended films to watch : Matrix, Aliens, Punch drunk love
Key things covered :
Dynamics, interesting,works realy well, just the right sound at the right moment which tells you everything what is required.

Too much information -- Sound interesting but requires too much attention, other than the video..

SUBJECTIVE *** SENSE OF REALISM

Tips for Foley recording -- Imagine a real life, how loud do you hear a sound,,far away sounds,,close sounds,,whispering anything,, Imagine a real life scenerio and present it..you dont hear foleys direct through ear.
Footsteps-- you are never too close to footsteps , so they dont have to be loud..

Glass smashing : Imagine a glass falling down,,compared to the full impact of a loud blast of a glass..A lot of times sound act as a enhancer,,in that way you present a loud smash of the glass.. Enhancment of the experience..

Violin -- Needs natural reverb,open space,harmonics to be heard..
close miking takes away teh thrill from teh sound..

Sonic Design aspect ******Contrast between scenes

Source Music and Score Music***** OR***** Diegetic and non diegetic music

Creating WIND :
Finding just the right wind for the scene can be tricky..Apply your creative tools of synthesis to get just the right sound you are after.. create a " cheerful wind "
*Low bottom end layer
*Mid range layer
*Filtered layer
*Whisteling layer

Music and Meaning in Commercials :

Synesthesia : A condition in which one type of stimulation evokes the sensation of another, as when the hearing of a sound produces the visualization of a color.
A sensation felt in one part of the body as a result of stimulus applied to another, as in referred pain.
The description of one kind of sense impression by using words that normally describe another.

Analysing "Material Girl"-- Madoona

Recommendd reading : "Analysing Musical Multimedia" -- Nicholas Cook

Week 4

2006-08-19T18:23:00.000+09:30

Film Design :

Key concepts covered in class

16mm -- Old skool Sound Production in film ( 1 mono optical track ,crapy than tape),low dynamic range,tape hiss
35mm - Stereo optical track
Dolby mix - dynamic range,surround
Cinema -- 120 dB dynamic range

Various type of music releases ;
cinema release, 5.1,stereo,television mix(very reduced),
Music and Fx release for foreign languages
Dialogue,music and Fx mix for promotional usage
mobile phone mix - mono mix, low quality playback device
Always Know the end product or medium of sound reproduction.There is no point spending time on panning if the end result is played as mono.Like wise spend as much possible time in the post production when you know you have the best sounding 11.1 setup for playback.

KEY THINGS BEFORE YOU START YOUR WORK
Dynamic Range
Frequency Response
No Of Channels
Listening Enviornment

Main Areas of Film Design

Dialogue****Music****Fx****Atmos****Foley

Always keep everything in seperate tracks with sub groups of individual items.It isjust like organising anything.Disciplined Organization would simply make your work easier and faster.

Week 3

2006-08-15T18:03:00.000+09:30

Sound design for Films:
Key elements for a good sound design
*Enviornment
*POV - angle or camera movement
*Low Lighting
*minimal dialogue
One of the ket things you will come across would be "why is this music not working with this scene"?.Keep watching the scene again and again,unless you come up with something quite interesting.'Time' will solve everything,anything you ever want to acheive.In some cases you will find that the music works really well and you dont really want to change it.
Temp track : A personel idea of director what he likes.Always remember you are working for someone,his baby and by all means you have to listen and please him with your work.A balance between satisfying all his needs and displaying your creative adventures,is what your aim is.In most cases if the director and the composer is happy,the film would be a success.

Sound Track components
*Dialogue
*Fx
*Foley (dramatic or narrative aspects)
*Atmos (blanket sound,background)
*Music

ADR - Automatic Dialogue Recording

Other important areas : copyright rules for musicians/artists
Mechanical rights of DVD,sound libraries etc
check out Australian Copyright Council's Online Information Centre http://www.copyright.org.au/
-------------------------------------------------------------------------------------
Game Project : My group is using Torque engine for their game.Check out a brief "Torque engine analysis"

Game engine
*Components
*Modular - Assembly
specific task
specialised task
sound
rendering scenery(L-systems)
*Abstraction
*Level Editors

Sofware to Hardware
Open GL - Graphic Language
Open Al - Audio language

Complexity : LE - MW - SRC code
-------------------------------------
Creative Computing : Msp
Synthesis and Enveloping
*Path towards virtual Instruments(Rewire)
*Additive,Amplitute modulation(ring modulation)
*object(encapsulation) - instances
*Synthesis e.g. protools mixer

Additive Synthesis : Adding simple tones to make complex tones e.g. Kawai 5000
E.g. : cycle~60 +cycle~200 + cycle~ 440 = complex tone by additive synnthesis.

Fourier Theorem :All sounds can be representated as sine tones.
*Delta time : space between start and end time(gives you 2 figures) whereas duration gives you only one figure.
# : arguments within an object (any parameter you want)
#1 - first argument,#2 - second argument and so on..
Function : GUI object - envelope generator

Tremelo and Ring Modulation " If the modulating frequency is above 16Hz it is ring modulation and if it is below 16Hz t is tremelo.
Modlating frequency always come down to zero at some point.
Carrier frequency : sound source
modulater : control/changing source
E.G : Say CF = 1000 and MF = 250
Then the range will be between 750Hz-1250 Hz and Ring Modulation is 500.

Amplitute Modulation: Amplitude modulation involves changing the amplitude of a “carrier” signal using the output of another “modulator” signal.
To put it another way, the modulator can cause fluctuation of amplitude around some
value other than 0,hence it is always + or -(never 0)
DC Offset: direct current(positive value)

Additive synthesis example: Partial~ patch
#P window setfont "Sans Serif" 9.;
#P window linecount 1;
#P newex 10 119 34 196617 pass~;
#N comlet partial # (multiplier);
#P inlet 149 27 15 0;
#P window setfont Arial 9.;
#P comment 48 120 74 131137545 specified partial;
#N comlet (signal) Sinusoidal partial;
#P outlet 11 141 15 0;
#P window setfont "Fixedwidth Serif" 10.;
#P newex 390 66 38 1441802 line~;
#N comlet Phase;
#P inlet 313 27 15 0;
#P window setfont Arial 9.;
#P comment 328 28 32 131137545 phase;
#P comment 405 28 107 131137545 amplitude and delta time;
#N comlet Amplitude and delta time;
#P inlet 390 27 15 0;
#P window setfont "Fixedwidth Serif" 10.;
#P newex 11 92 389 1441802 *~;
#P window setfont Arial 9.;
#P comment 26 28 101 131137545 fundamental frequency;
#P window setfont "Fixedwidth Serif" 10.;
#P newex 11 66 312 1441802 cycle~;
#N comlet Fundamental frequency;
#P inlet 11 27 15 0;
#P newex 11 45 148 1441802 * $1;
#P window setfont Arial 9.;
#P comment 164 28 131 131137545 partial # (ratio to fundamental);
#P connect 10 0 5 1;
#P connect 6 0 10 0;
#P connect 9 0 3 1;
#P connect 13 0 1 1;
#P connect 14 0 11 0;
#P connect 3 0 5 0;
#P connect 1 0 3 0;
#P connect 2 0 1 0;
#P connect 5 0 14 0;
#P window clipboard copycount 15;

Simple Synth patch: Simple Synth converts midi values into its corresponding frequencies and uses envelope generator to demonstate the process of additive synthesis.You have the option of either playing through the keyboard or click button to play random 100 midi values.
#P window setfont "Sans Serif" 9.;
#P window linecount 1;
#P comment 367 34 100 196617 vinny Bhagat 2006;
#P newex 42 65 52 196617 metro 50;
#P toggle 42 42 15 0;
#P newex 42 87 64 196617 random 100;
#P window linecount 2;
#P comment 77 236 54 196617 converted frequency;
#P number 41 179 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P number 41 240 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P window linecount 1;
#P message 179 168 33 196617 clear;
#P user number~ 5 348 44 363 9 3 3 2 0. 0. 0 0. 250 0. 0 0 0 221 221 221 222 222 222 0 0 0;
#P message 118 347 27 196617 stop;
#P message 52 348 65 196617 startwindow;
#P newex 41 382 29 196617 dac~;
#P newex 234 294 50 196617 line~ 0.5;
#P user function 171 187 371 287 1 1 0 0;
#X frgb 82 82 82;
#X brgb 204 204 204;
#X rgb2 85 85 85;
#X rgb3 255 255 255;
#X rgb4 0 0 0;
#X rgb5 0 0 0;
#X add 10.638297 0.72 2;
#X add 234.042542 0.613333 2;
#X add 377.659576 0.853333 2;
#X add 606.382935 0.733333 2;
#X add 632.978699 0.346667 2;
#X add 941.489319 0.24 2;
#X domain 1000.;
#X range 0. 1.;
#X done;
#P newex 41 316 41 196617 *~ 0.5;
#P newex 41 292 61 196617 cycle~ 440;
#P newex 41 208 31 196617 mtof;
#P user kslider 41 110 54 0 36 60 31 12 0 128 128 128 128 128 128 255 255 255 0 0 0 0 0 0;
#P comment 77 180 82 196617 midi note number;
#P comment 59 43 125 196617 click to play random tones;
#P window setfont "Arial Black" 14.;
#P comment 210 18 116 791478286 Simple Synth;
#P fasten 6 0 12 0 46 340 10 340;
#P fasten 17 0 3 0 47 101 46 101;
#P fasten 3 0 15 0 46 172 46 172;
#P connect 15 0 4 0;
#P connect 4 0 14 0;
#P connect 14 0 5 0;
#P connect 5 0 6 0;
#P connect 6 0 9 0;
#P fasten 10 0 9 0 57 372 46 372;
#P fasten 11 0 9 0 123 376 46 376;
#P connect 18 0 19 0;
#P connect 19 0 17 0;
#P fasten 8 0 6 1 239 313 77 313;
#P fasten 3 0 7 0 46 167 176 167;
#P fasten 13 0 7 0 184 185 176 185;
#P connect 7 1 8 0;
#P window clipboard copycount 21;

-------------------------------------------------------------------------
Forum Presentation by myself:

What is a ‘rag’ ?
‘Rag’ is derived from Sanskrit word ‘raga’ which means “colour or passion” (Apte 1987).There is no direct translation in English which explains a ‘rag’.However it is a combination of different characteristics.

* Scale/Mode/selection of notes
* Ascending and descending structure
* Level of significance - Some are important notes and others are less
* Movements.
* Time of the day

Raag Yaman : This rag has a strong association with the evening. It uses all seven notes of the scale ie
1 2 3 #4 5 6 7 with 3rd being a stronger note and 7th being less slightly than 3rd .
#4 suggests it is a Lydian mode with structure of T T T S T T S

Significance of drone : The function of the drone is to provide a firm harmonic base to the music.Normally root note and 5th is played on tanpura.

This improvisation is derived from one of the compositions I was taught by my first music teacher,
Mr. Bhasker Bose. He is responsible for introducing me to music and I dedicate this performance to him.

References
(1)Haines,Christian.2006.Audio Arts lecture on Sound Design for Games.University Of Adelaide.8 August'06.
(2)Haines,Christian.2006.Creative Computing lecture on Max/Msp.University Of Adelaide.10 August'06.
(3)Klose,Ashley.2006.Lectures on Sound Design for Films.University Of Adelaide.8 August'06
(4)Msp Tutorials and Topics.2006.Cycling 74
(5)Bhagat,Vinny.2006.Presentation a the Forum.Program Note.University Of Adelaide.10 August'06

Torque - Game engine

2006-08-15T08:50:00.000+09:30

The Torque Game Engine was originally developed by Dynamix for Tribes 2.
Core Features.

* Full C++ source code to the engine
* C++ like syntax

TOOL Generator
* Mesh exporters for Maya, 3D Studio Max, LightWave, Blender
* Uses UDP and TCP for networking
* Uses optimal Notified Delivery Protocol

SOUND

* Multi-channel prioritized SFX manager
* 3D sound support; panning, volume, Doppler, cones
* OpenAL
Torque, uses OpenAL—an open-source audio API(Application Programmer's Interface).
Audio Profiles and Datablocks
Torque uses the concept of datablocks and profiles to help define and organize resources
for use in the game.

Audio datablocks are defined using the keyword AudioDescription when they are defined.
Here is an example of an audio datablock:
new AudioDescription(AudioTest)
{
volume = 1.0;
isLooping= false;
is3D = false;
type = 0;
};

Example for creating a profile:

new AudioProfile(AudioTestProfile)
{
filename = "~/data/sound/test.wav";
description = "AudioTest";
};

References :
Finney C . Kenneth. "3D Game Programming All in One".Thomson Course Technology

Week 2

2006-08-10T18:02:00.000+09:30

Game project : System Analysis/History of Games
1.System - gaming console(RAM,CPU,HD,soundcard,BD,SR,BR(CODEC),Stereo,5.1,2.1,PC3D
2.Medium - DVD,file based,blue ray
3.Reproduction - Sound reinforcement(sound system,stereo compatibility,2.1,5.1,3D
4.Engine - Half life,unreal etc{Mediums,CODEC,MIDI,synthesis engine,PCM,GM engine,chip engine}

DVD Data - Storage,size,read rates(data),memory,SR,BD,BR

QUOTE OF THE DAY : LIMITATIONS IS NOT EQUIVALENT TO RESTRICTED FREEDOM

Channel*BD*SR = bits/sec
1*16*44100 = 705600 bits per sec
Buffer size = 1024
Standard CD Kpbs = bits per sec/buffer size

Creative computing : Fundamentals of MSP

• Signals
• Audio on/off
• Routing / Mixing

dac~ : Audio output -Connect signals to a dac~ to hear them. Also, you can send messages to a dac~ to start and stop the audio. The easiest thing to do for audio on/off is to connect a toggle to dac~'s left inlet.

adc~ : Output audio from computer's input source - adc~ (which stands for "analog-to-digital conversion)" receives multiple channels of audio in and sends it to its outputs as signals. It receives messages to turn audio on and off.

ezidac~ - Simple iconic 2 channel audio output(turns on all windows)ezdac~ accepts all the messages that dac~ does, except that you can't double click on it to see the DSP Status window. You can, however, send it the "open" message to do so.

eziadc~ - Simple iconic 2 channel audio input (turns on all windows)ezadc~ accepts all the messages that adc~ does, except that you can't double click on it to see the DSP Status window. You can, however, send it the "open" message to do so.

Send~ and receive~ : The send and receive objects allow you to send any kind of message between Patcher windows or within a window without using patch cords. The order of reception by two or more receive objects is not deterministic.

Ubmenu : non-interrupting pop-up menu -The menu can be used to display text associated with incoming numbers.Items start at 0.

Gate~ : Switch input to different output signals - It takes an argument for number of outputs (one is the default) and lets you route an incoming signal by sending an int to its left inlet. It can also control the activation or deactivation of part of a signal processing network.

Selector~ :Switch output among several input signals - It takes an argument for number of inputs (one is the default) and lets you turn incoming signals on and off by sending an int to its left inlet.

Selector Patch
#P window setfont "Sans Serif" 9.;
#P window linecount 1;
#P message 107 46 14 196617 3;
#P message 91 46 14 196617 2;
#P message 75 46 14 196617 1;
#P message 60 46 14 196617 0;
#P newex 224 44 61 196617 cycle~ 440;
#P newex 166 45 55 196617 cycle~ 70;
#P newex 124 45 39 196617 noise~;
#P message 78 193 27 196617 stop;
#P message 9 193 65 196617 startwindow;
#P newex 163 191 39 196617 *~ 0.2;
#P newex 108 226 65 196617 dac~;
#P newex 108 192 39 196617 *~ 0.2;
#P comment 13 179 69 196617 start audio;
#P newex 132 109 62 196617 selector~ 3;
#P fasten 0 0 2 0 137 164 113 164;
#P connect 2 0 3 0;
#P fasten 5 0 3 0 14 220 113 220;
#P fasten 6 0 3 0 83 220 113 220;
#P fasten 13 0 0 0 112 88 137 88;
#P fasten 12 0 0 0 96 92 137 92;
#P fasten 11 0 0 0 80 97 137 97;
#P fasten 10 0 0 0 65 101 137 101;
#P fasten 7 0 0 1 129 85 154 85;
#P fasten 0 0 4 0 137 164 168 164;
#P connect 4 0 3 1;
#P connect 8 0 0 2;
#P fasten 9 0 0 3 229 85 188 85;
#P window clipboard copycount 14;

References:
(1)Haines,Christian.2006.Audio Arts lecture on Sound Design for Games.University Of Adelaide.1 August'06.
(2)Haines,Christian.2006.Creative Computing lecture on Max/Msp.University Of Adelaide.3 August'06.
(3)Msp Tutorials and Topics.2006.Cycling 74

-----------------------------
2 August'06 7pm - gig with Wez and group for the opening of SALA festival,Uni SA,Arts school : It was fun playing drum kit after such a long time but actually embaracing as well with what the group was trying to acheive.Lots of feedback,scratching, untimely congos,never stopping cowbell with didj fattening the over all sound,as if it was needed and the looks on some of the people were saying "guys please turn down the volume".Ah well,that is life.I was enjoying playing the kit and anything else didn't bother me.To be honest i loved it.But never again Wez..

The same weekend I am off to sydney to attend one of my friends engagment.
Gurpreet Singh Sodhi - A friend who is really very close to me.It took me a fair while to understand his love for me.This guy bought me drum accessories from Australia,when I was still in India,got me a beautiful Yamaha wooden Picolo snare drum from london,I was still in India and now he has booked air tickets for me to come and attend his engagement.This is how much he loves me.God Bless "Gurpreet and Shimona"..

Sem2..Week 1

2006-08-01T19:15:00.000+09:30

Sound Design
Introduction to Sound Design

Design – structure / organized – Plan/map for objects
n verb – act of designing,, planning , sketching or the process of doing..

Sound – and audible event ( physical/psychophysical )
Eg music,sound for sound objects,sonority

Victorion – modernist—Pomo
Bauhans, grophins

Form --- function
Fine arts – architecture

‘Relationship of the materials’
Form --------------------------------------------------------------Function
Fine Arts --- architectural,industrial,sound design--------- engineers

Sound Design for film
Target – medium/object
-- form (aesthetic) + function (use/role)
sound logo/symbol, film, game, web page, multimedia, mobile, electric toaster, internet fridge

Similar fields : Design studies, graphic design, industrial design and architecture

“ Relationship of letters, shapes etc in graphic design”
-- relative to distance
-- form and function of letters and how they relate to the real world.
.Eg design output -- aesthetic

Creative Computing - Msp~
Overview of MSP environment differences to max
• Target outcomes such as application, plugin development, performance tool etc
• Testing
Test Tone :
#P window setfont "Fixedwidth Serif" 10.;
#P window linecount 1;
#P newex 8 29 64 1441802 cycle~ 60;
#B color 5;
#P message 110 30 38 1441802 start;
#P message 75 30 32 1441802 stop;
#P newex 8 83 32 1441802 dac~;
#B color 5;
#P connect 3 0 0 0;
#P fasten 2 0 0 0 115 59 13 59;
#P fasten 1 0 0 0 80 66 13 66;
#P fasten 3 0 0 1 13 51 35 51;
#P window clipboard copycount 4;

Ambience
#P window setfont "Sans Serif" 9.;
#P window linecount 1;
#P message 191 175 27 196617 stop;
#P message 122 175 65 196617 startwindow;
#P newex 26 212 29 196617 dac~;
#P newex 26 173 39 196617 *~ 0.2;
#P flonum 302 88 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P message 210 59 90 196617 200 \, 10000 4000;
#P newex 210 84 51 196617 line~ 200;
#P flonum 118 89 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P newex 26 64 35 196617 noise~;
#P newex 26 126 286 196617 reson~ 1. 200 23;
#B color 5;
#P comment 35 111 59 196617 input signal;
#P comment 210 44 173 196617 • click to ramp up center frequency;
#P comment 220 111 61 196617 center freq;
#P comment 128 111 28 196617 gain;
#P comment 310 73 147 196617 •try range of 1-100 for Q;
#P comment 311 110 15 196617 Q;
#P comment 123 160 73 196617 • start audio;
#P comment 36 146 73 196617 filtered output;
#P connect 14 0 15 0;
#P connect 14 0 15 1;
#P connect 9 0 8 0;
#P connect 8 0 14 0;
#P fasten 16 0 15 0 127 201 31 201;
#P fasten 17 0 15 0 196 201 31 201;
#P connect 10 0 8 1;
#P connect 12 0 11 0;
#P connect 11 0 8 2;
#P connect 13 0 8 3;
#P window clipboard copycount 18;

Poster for ACMC'o6

2006-07-20T18:47:00.000+09:30

Smart Controller

Abstract

My particular interest lies in spontaneity of music, especially in a concert situation. This paper talks about few ideas of implementing Mini MIDI con-troller in a live performance. One key limitation with laptop performance is interaction of a com-puter with a human player or vice versa. In an im-provised performance this device would act as a source of communication. between man and a ma-chine. The endless options it gives you by convert-ing voltages into bytes and sending it across to mul-tiple devices, opens up a whole new world of com-position process either in a concert situation or in a studio environment.

Introduction:

The Mini MIDI Controller is a device used for con-verting control voltages to definable MIDI mes-sages and visa versa. I believe making use of CV-MIDI Controller could solve some of the limita-tions, which we encounter in improvised computer performances.

Generating multiple sound sources from a single sound source – By generating MIDI note values from voltages of a single sound source, these values can be used to generate tones for different instruments. For instance piano sound can be used to generate ambience, bass or percus-sions when manipulated in applications such as Max/Msp. Hence forming a sense of ensemble from a single player complimenting the music both harmonically and rhythmically.

Visual representation: Within the area of live improvisation using computers as the medium I am practising how to generate a visual represen-tation of the performance. By converting the final mix of a performance into MIDI values, these bytes could to be used to generate a visual representation of the performance or manipulate projections or still images taken from that space. Hence achiev-ing an audio-visual result, which is truly real time.
Sending Messages: Open Sound Control is a new protocol for communication among computers, sound synthesizers, and other multimedia devices using modern technologies. It would form a chain between hardware and software devices used in the performance.
It comes with an upgradeable feature of wireless networking via Bluetooth. In other words by mak-ing use of “Open Sound Control” I can send and re-ceive messages without being physically connect-ing the devise.

References :
Fraietta, Angelo. Mini MIDI Controller Manual. http://www.smartcontroller.com.au/miniMidi/miniMidiController.html 3 July’06
Matthew, Wright and Freed,Adrian.2006. Docmentation on Open Sound Control. Center for New Music and Audio Technologies, U.C. Berkeley

ShiVna Kaun

2006-06-30T11:52:00.002+09:30

Shivna Kaun is an Experimental Electronic Music project consisting of :

Vinny Bhagat—laptop/percussion/field recordings
Kym Gluyas – Saxophone/electronics
Chris Martin – Electric piano
Maria Fava - Video camera and Projections

Collaborations with other Artists:

Tyrell Blackburn : Laptop
Derek Pasco - Saxophone
Jay Dabgar - Tabla
Josh Benett : Sitar,guitar
Ashhar Farooqui : Voice and Fx
Tom Buchanan : Live Art
W.T Masseli - Art display
Maura Oregan : choreography
Lea Czikowski : choreography
Luke Toop – visual projections and video camera

Our performance is like a journey, which can start with ambient minimal found sounds and climbs to various areas of abstract sonic art and electronica. The music is created through code, artificially synthesized sound, rhythm’s and field recordings, all of which are processed in real time and accompanied by more human players on various acoustic instruments , video camera , objects and tools, that often puts the listener into an unfamilair "interesting-spatial" environment. The spontaneous nature of the music means you hear a one off performance.

History and Gigs:
Meeting at The Elder Conservatorium Of Music, University Of Adelaide we started an improvised computer music project in April 2005 that began with our first live performance on South Australian Composers Symposium - Radio Adelaide.Thanks to presenter Alex Carpenter for his offering.
Originally only putting the group together for this performance, we found our selves being offered a show for the opening of The Delicatessen Gallery @ 2005 and then a slot on the bi monthly COMA performance’s (Creative Original Music Adelaide) by the listeners for the Hipnote Autumn Sessions 2005. Since then the group has evolved into various streams of experimental music, computer music and visual Art and now its led by Vinny Bhagat often inviting other artists from diverse backgrounds from Adelaide, interstate and overseas to perform in the concerts. Distributed performances is an highly interesting concept, breaking all the barriers of distance, performers in one physical place and traditional musical practises. Still a long way to go, but definately this is/will be/can be the new way of performances.

Shivna Kaun Quartet

*noise
*nature
*hammers
*landslides

“Whereas, in the past, the point of disagreement has been between dissonance and consonance, it will be in the immediate future, between noise and so called musical sounds”(John Cage 1966)
Noise is often thought of as the opposite of music, something that is undesirable and ugly. Music of different cultures have made a clear distinction between musical sounds and noise. To Helmholtz musical sound was “…. a perfectly undisturbed, uniform sound which remains unaltered as long as it exists” (Helmholtz 1954). The term ‘noise’ is itself a description of a timbre. In comparison, musical tones are ‘regular and uniform’ whereas noises are ‘confused and irregular’. Splashing of water, whistling of the wind, a boiling kettle or a passing truck are all examples of musical noises. “Noises are useful to new music as so called musical sounds for the simple reason that they are sounds”(Walker 1970).

“However if the word “music” is sacred and reserved for eighteenth and nineteenth century instruments, we can substitute a more meaningful term: organization of sound” (John Cage 1966)
“Music Concrete, one of the early forms of electronic music grew out of the fascination with the musical possibilities of environmental noise”. (Abraham 1960). Percussion music on the other hand is influenced from a similar idea where the point of reference is the underlying rhythm, to the extent that any sound is acceptable to the composer.
Electronic music is only limited by the relationship that exists between the human ear, the mind and the acoustic sound. However “it is clear that the composer of electronic music should not attempt to imitate timbres of traditional instruments”(Stockhausen 1962), it becomes a necessity for the audience not to accept any familiar patterns and sounds their ears are use to.
Shivna Kaun looks to stretch the scope of deep listening and sonic meditations to a larger audience.
2005 Gig Guide
* South Australian Composers Symposium - Radio Adelaide, 11am, 21 April 2005
* Opening of the Delicatessen Gallery, July 2005
*COMA (Creative Original Music Adelaide) 15 Aug'05 –Wheatsheaf 8PM

2006 Gig Guide:

* Fringe 06- Fresh Bait , 27 Feb & 6 March, Fowlers live 68 North Terrace
* Tyndall Assembly – 16 March , Delicatessen Gallery 7PM
* Lizard Lounge ,Hindley Street 19 March 8PM
* Local Noise 9 May Radio Adelaide 101.5 FM 9 Pm
* ACMC'06 and Ear Poke at Jade Monkey 12 July'06 -- 8pm onwards
* Adelade University - Uni Bar 28 July'06 6Pm
* SALA Exhibition 7 August’o6 (opening night)
* COMA (Creative Original Music Adelaide) 21 Aug 06 –Wheatsheaf 8PM

2007 Gig guide

* Allans Music Store -- Adelaide : 19 January, 5pm
* "Hope for Genreation" Producers bar -- 1 July, 11pm
* "Tyndall Assembly", Gallery De la catseen -- 26 July ,8pm
* Visa expiration Party -- COMA, Wheatsheaf -- 10 September, 8pm
* Exeter - experimental wednesdays

2008 gig guide
* Exeter - experimental wednesdays..2 jan
* Coma, Hipnote Summer series @ Wheatsheaf Hotel, Adelaide - 7th Jan
* NowNow Festival.."Festival Club".. Blue Mountains..NSW.. 18,19Jan..
* Dela catseen Gallery, Adelaide. 7th Feb'2008 .. 7pm
* Togetherness Show.Adelaide.. Rymel Park. 17 Feb 2008.. late avo..

=======
WORKS
=======

* Excerpt : Video Feedback, 2007
( Music by Vinny Bhagat and Video by Maria Fava )

Tracks: ( All tracks written and composed by Vinny Bhagat)
* Chattswood ( 2008 )
* Sonic Textures (2007)
* Timbre Tree (2007)
* super_network work(2007)
* Mosque in war times (2007)
* Birth Chart (2006 )

Concert excerpts:
* HipNote Winter Sessions @ Wheatsheaf,Adelaide 7.1.2008
Excerpt 1 Excerpt 2 Excerpt 3 Excerpt 4 Excerpt 5

* Angry Jam,2006
* Allans Music, Adelaide, Jan 2006
* Fowlers Live, Adelaide Fringe 2006
* Kym's place,2005

Sound Design Works
* What is Music ( 2007 ) Film By Daniel Murtagh
* Worms ( 2007 ) Animation by Tim Forbes and Christina Erdos
* Emergence Games Sound Logo (2006)
* L'vertie Incroyable. Film by Tamas Major ( 2006)
* Bushanza..Animation by Ronald Keller..( 2005)

Tribute
* Om Jai ( Indian Prayer for the Gods )
* Hot Rodes : to hand playing

Video Exploration
* Incident of Video Feedback ( Music Work in Progress )

Jazz: Whats Next

2006-06-12T16:00:00.000+09:30

“What’s next?” an article by John Szwed raises a lot of questions in my mind really to do with preserving the culture and traditions associated withJazz. Music that came out in that era is a symbol of cruelty faced by blackpeople. It’s an expression of people who were weak, poor and were inpain. Now in today’s world we can transcribe their solos and play everynote that they played but what about the state of mind they were in. Have we seen the hard time those guys had to experience? No, then how can we play the music like them. Recordings made during the early days is one of the most important source which tells the sound of early jazz and help musicians to do a study on them. Clearly jazz musicians of today’s world improvise on tunes made few decades ago.” 1Jazz can never repeat its past nor escapes it, it constantly adds and modifies everything that has gone before”. To me, the most important characteristic of jazz is to change, to modify, to improvise, to alter and express. Another important characteristic of jazz is to be innovative, break rules, do some thing new and what is weird is good. Humans always look for change and there is always the next step. There has been no looking back ever since human existence. Jazz will constantly modify itself, (2"which is quite clear from the twists and turns taken through out its short life) may be now, by making use of modern technologies..!“3Such a music cheerfully escapes definition and prognostication”.

Bibliography:
Szwed, John F.2000. Jazz 101: A Complete Guide to learning and loving Jazz. New York:
Hyperion. Chapter 31. “ Whats Next?” pp 289-292

Refrences:

http://www.monkzone.com/biographyHTML.htm 27 march’06
Black America. John F. Szwed. Basic books Inc. New York, NY. 1970
http://www.americanclave.com/1-kip.html 27 march’06
Lerner Murray 2004, A Different Kind of Blue . Miles Electric - DVD Commentry
1 Szwed, John F.2000. Jazz 101: A Complete Guide to learning and loving Jazz. New York: Hyperion.
Chapter 31. “ Whats Next?” pp 289-292
2 Szwed, John F.2000. Jazz 101: A Complete Guide to learning and loving Jazz. New York: Hyperion.
Chapter 31. “ Whats Next?” pp 289-292
3 Szwed, John F.2000. Jazz 101: A Complete Guide to learning and loving Jazz. New York: Hyperion.
Chapter 31. “ Whats Next?” pp 289-292

Week 12

2006-06-12T15:10:00.000+09:30

Why do we play music : If you are an African there is no such thing as "art music". Music is a part of everyday life.Every ceremony and religious activity is complimented by music,to an extent that if drummers are not present the ceremony would not take place..If you are an Indian, u wont have your first meal before you sing a small prayer in your private temple..If you are none of that you still want music to be the most imortant thing in your life.

Test: How much Is music Important to you ??
Light a candle..
Put your hand on the flame..
Now start counting till 10..(bpm = 6000 ms)
Start questioning your self ..
Is my max patch working ?
Have I done my blog ?
Is my mix peaking ?
Can I play 1 4 7 3 6 2 5 1 in all 12 keys ?

I f you answered all of that,in no time you will be a legend..
If not, you will feel that nothing in this world is more important than the last breath you just took...

Week 11 ..Stephen Whittington

2006-06-03T17:55:00.000+09:30

Stephen Whittington (b.1953) Composer, pianist, writer and music critic.
Director - Electronic Music Unit at the the Elder Conservatorium Adelaide where he teaches composition, music theory, acoustics and electronic music.
"As a pianist, he is renowned as an interpreter of contemporary music."
List of few works:
^1988 - X is Dead , Homage to Pierre Boulez
^1994 - Distributed Improvisation live to air on ABC - Fm
^1996 - 1988 - Distributed Synchronicity experiments
^2000 - Music Of The Spheres,
Contemporary Art Center of South Australia
^2003 - Pitch Web Improvisation , Museum Brisbane
^2005 - Present Ongoing experiments using VOIP (Voice Over internet Protocol)

Distributed Music Performance : "Any music perfrormance in which the performers are not in close proximety to one another. They may be anywhere from the other side of the hall to the other side of world"... OR may be in a different galaxy.
This can get really interesting when tried with people of similar thinking or close ones.The result can be taken as a measure of their closeness to one another.
It would give even more interesting result when tried with people who have no clue whom they are playing with and dont know each other or may be they are playing totally different genre of music ..
I think the later one is an extreme case, "Handle with care" .
I can imagine that music and cant stop saying, "WHAT"....

^ Ventures in Vocoding (Hardware of software implementation of speach based compression algorhythm)
^ Utterence : Any human vocal sound including but not restricted to speech and speech like sounds.
Music Of Spheres : Performers will assemble a variety of quotations related to the idea of music of spheres.
Read : Serious Immobilities : On the centenary of Erik Satie's Vexations - Stephen Whittington

References :

Whittington , Stephen .2006. Presentaion at the Forum : Ventures in vocoding and Distributed Music Performance. 25 May ' 2006.University Of Adelaide
Original image source : http://www.emu.adelaide.edu.au/about/staff/stephen.whittington.html

Week 10.. Music Copyright LAw

2006-06-03T15:56:00.000+09:30

This is some serious stuff man..Understand it fully.A lot of this stuff is not meant to please you but make sure to take due care..
Important information for Music Copyright Stuff for musicians -
" Statue based - coptright Act :
Automatic - no registration needed .. Once you create anything it becomes your property
Protects 'works , musical and sound recording. Protects expression, not idea. "
check websites : link

www.weatherall.blogspot.com

week 9..

2006-06-03T14:38:00.000+09:30

Listening :
"The objective was to experience mainly popular music in unusual ways. The outcomes were to hear strikingly different artists remixed as a short encore-like package by Christian Marclay and as a long expanded "Theme and Variations" form with Pink Floyd."

Christian Marclay : Born 1955, San Rafael, California, USA.

1. Johann Strauss
2. Jimi Hendrix
3. John Cage
4. Maria Callas
from "More Encores"
ReR Megacorp 1988
ReR CM1 2677
original picture source : http://www.furious.com/perfect/christianmarclay.html

Pink Floyd " So, so you think you can tell Heaven from Hell,
...
Do you think you can tell?"
Shine On You Crazy Diamond Parts I-XI 1975
from "Wish You Were Here"
1975 Pink Floyd Music Limited
SBP 234651
http://www.lyricsondemand.com/p/pinkfloydlyrics/wishyouwereherelyrics.html , 3 June'06

week 8..

2006-06-03T10:55:00.000+09:30

Listening:

The objectives are to experience the use of electronic instruments and methods in different genres. The outcomes were to hear the use of a theremin in the Led Zeppelin, tape collage methods in Pink Floyd's "Relics" and the Pierre Henry and the use of the VCS3 in the Pink Floyd track "Breathe".
---------------------------------------------

1. "Whole Lotta Love" 1969
Led Zeppelin
from "Led Zeppelin II"
Atlantic SD 8236
http://en.wikipedia.org/wiki/Led_Zeppelin

2. "Bike" 1968
Pink Floyd
from "Relics"
DRUM 8026
SOELP 9791
http://www.allposters.com/gallery.asp?aid=484861043&c=c&search=587&cat=122&GCID=s15100x008%2DMusic&KEYWORD=Pink+Floyd+posters

3. "Breathe" 1973
Pink Floyd
from "Dark Side of the Moon"
EMI SHVL 804
http://www.allposters.com/gallery.asp?aid=484861043&c=c&search=587&cat=122&GCID=s15100x008%2DMusic&KEYWORD=Pink+Floyd+posters

4. "Voile d'Orphee" 1953
Pierre Henry
harmonia mundi
HMA 1905200
http://www.discogs.com/viewimages?what=R&obid=321972

Week 7..

2006-05-13T20:50:00.000+09:30

Listening : The objective of this week was to contrast electronic with acoustic and modernist with minimalist. The outcomes include hearing graph music interpreted electronically with Xenakis, experimental bottleneck guitar and a famous minimalist piece.

1. Iannis Xenakis (1922-2001 )
Voyage absolu des Unari vers Andromede 1989
Perspectives of New Music PNM 28
http://www.karadar.com/PhotoGallery/xenakis.html

2.Gabriele Manca
In Flagranti 1990 performed by Geoffrey Morris
ABC Classics 465 701-2
http://www.milanomusica.org/autori/manca.html

3. Philip Glass
Rubric : performed by The Phil Glass Ensemble
CBS MK 39539
Another interesting link
http://www.starpulse.com/Music/Glass,_Philip/Pictures/

Presentation : Seb Tomczak (honours student)
The use of non musical elements in composition, largely via music technology. The presentation focused on the milkcrate project, where rules limiting materials, space, time and productivity control the music making process.

Creative Computing : Send and receive objects; message management; patcher object, custom objects and encapsulaton; arguments.
Task: Tutorials 24 - 29 in Max Tutorials and Topics

Audio Arts : Anzac Day celebration

Science Of Music : "Uncertainity Principle" , John Cage Lectures 1-6
Media Students shoots us as we get ready for field trip.
Trip to anechoic and reveration acoustic test chambers

http://en.wikipedia.org/wiki/Image:Anechoic_chamber.jpg

The second half of the class was dedicated to Matthew Sorell,lecturer of mathematics University Of Adelaide.He presents the ideas and probabilities used in bell ringing.A trip to the cathedral is scheduled for next week where we see bell ringers practise session.

The same day I meet S W Satyandra , sitar player from bombay who is currently in Adelaide as a tourist.An intersting jam on sitar and dhup but i missed the 'tihai" he played at the ending.It was a "chakardhar" tihai which I heard after a long time. He played the same thing again and this time we finished together..
I remember playing some Indian spritual songs with rinku but this was the first time I had to play them in a concert.In a way it was really funny playing "Govind Bolo Kabhi Gopal Bolo" but then I just got indulged with its groove and just forgot where and whom I was playing for.
He has given me 4 more dates to play and one of them is at Osho Ashram in Adelaide on 6 may'06.So be there if u live in adelaide..

week 6..

2006-05-02T15:14:00.000+09:30

Audio Arts: Recording Drum Kit

Getting a good sound from an acoustic dum kit has always been a challenge. To start with make sure your skins are fairly new and are tuned accordingly.All the nuts are tight and are not in contact with any another drum as this will produce undesirable noise.There are various techniques which one can apply depending on style/genre/skill of the player.When recording a rock or metal band the focus lies on giving as much detail whereas a jazz player would like more acoustic properties of the space blended with the sound of his kit.

Close Miking: This is a very common practise for live situations in larger venues and is very often used in recording studios. Each drum of the kit is closely and separately miked giving you every possible detail.

Kick: Hole mounted, not touching; 15-20 cms from the skin.Applying correct padding is very important as this will contribute largely on the thickness and punch of your bassdrum.Make sure you pedal is not making any unnecesssary noise.
Microphone choice: Beta 52,AKG's or Sen MD421

Snare: Snare requires a mic that can handle very high SPL so a dynamic microphone is usually chosen. To avoid picking up the hi-hat in the snare mic, aim the null of the snare mic towards the hi-hat.we applied another microphone at the bottoom of the snare to capture the vibrations produced by the snare.This can give you interesting results as the gros notes would be more audible. But, remember the phasing issue caused by microphones facing each other.Inverting this track would correct it .A combination sound of both the microphones would give you a desirable result.
Microphone choice: Shure Sm58, 57,Sen825

Toms: One microphone with a wider polar pattern between 1st and 2nd Tom, close to the head (approx 5-10cms depending on how it is sounding). Alternately one can use NT4, as it would give each mono channel for both the toms.Have an individual microphone for your floor tom and apply similar techniques.

Overheads : Cymbals (ride, crash, splash, china, hi hats): The brilliance and high frequencies of cymbals are picked up best by a flat response condenser mic. Two condenser microphones panned hard left and right at a reasonable height above the toms.
Microphone choice: NT5, Newman K57i.

This would give the stereo image of the recording source. Also, a pair of microphones at a distance captures instrument timbres more accurately than close up mics. Close-miked instruments sometimes sound too bright, edgy, and detailed.This is what the player has to decide depending on the genre of music he is playing and the sound he is after.
Choice of Microphones: Omni, condenser with a large diaphragm about 1.5-3 meters from each other. Microphones like U87/89; AKG C414

Drum kit is what drives the music together with the bass player.Spend as much possible time on getting just the right sound you are after.Apply correct microphone placement techniques with "just" the right gain structure.
{Good Luck..!}

Forum: Listening

1. Edgard Varese (1883-1965)
Ecuatorial 1934
bass singer, 4 trumpets, 4 trombones, piano, 2 Ondes Martenot and 5 percussion
performed by The Contemporary Chamber Ensemble with Arthur Weisberg conductor
Nonesuch Records 1972 H-71269
http://www.karadar.com/PhotoGallery/varese.html 13may'06

2. Milton Babbitt : b 1916, Philadelphia
Ensembles for Synthesiser 1954
Columbia MS 7051
Milton Babbitt is an american composer, teaches at Princeton University and Juilliard as Professor of Composition
http://www.furious.com/perfect/ohm/babbitt.html 13may'06

3. Barry Truax
The Wings of Nike 1. Album 1987
Perspectives of New Music PNM 28
-- for computer images and two digital soundtracks
--Professor in the School of Communication and the School for the Contemporary Arts at Simon Fraser University for acoustic communication and electroacoustic music.
http://www.sfu.ca/~truax/bios.html

Forum discussion about music technology and its interdisciplinary strands. A brief history of electronic and computer music at EMU .
Panel members --
Stephen Whittington :Director of Electronic Music Unit at the the Elder Conservatorium and teaches composition, music theory, acoustics and electronic music.

Dr Mark Carroll : A Senior Lecturer in Music at the Elder School of Music at The University of Adelaide.

Tristan Louth-Robins (Masters student at EMU)

Week 5...

2006-04-04T03:57:00.000+09:30

Audio Arts: Recording a bass guitar

Bass is an instrument, which forms the foundation of a lot of genres of music .The low deep sound contributes to the punch and thickness of overall mix. For recording bass first thing to decide is whether you going record the bass through miking the bass amp, going DI or both. We didn’t have the bass amp to record so we went straight to the DI input on the desk. For general rule apply both the techniques and you can decide later on whether to use the combination sound or either of them. I would personally apply a combination of both the worlds.
Key things to have in mind before you record bass :

^ Strings contribute a lot in the sound, make sure they are fairly new.

^ Always use new batteries for your pick up before recording.

^ All EQ levels on bass should be flat. Try and capture the natural sound coming out from the instrument. Apply any equalization at the end, as this will give you more room to experiment.

^ Output level from the bass should be maximum, adjust level from the DI box and apply correct gain to the source from the desk.

^ Select the pick up depending on the style of music, player and the result desired.

^ In order to capture the low end frequencies select a microphone with large diaphram like AKG’s or a microphone used for miking kick drum. Place it on the center of the best sounding speaker.

^ Adding a compression is quite beneficial as it evens up the levels of different notes and, equally importantly, it increases the average energy level of the sound -- making it seem louder for the same peak level.

Creative Computing: Max/Msp

MIDI information; MIDI I/O; Comparison; Gates and Switches; Expressions ...
Max Tutorials and Topics 12--18

References:

Grice, David. 2006. Practical on recording bass guitar. University of Adelaide, 28 march

Haines, Christian. 2006. Practical on Max/Msp, University of Adelaide, 30 March.

Week 4... David Harris

2006-03-28T05:43:00.000+10:30

Forum Workshop : Music of North American experimental composers.

Jack Vees - Surf Music II
for Bowed electric bass and electronics
Cuneiform Records LC-02677
Read interview

Ingram Marshall - Fog Tropes II
String Quartet and Tape
performed by Kronos String Quartet
Nonesuch 79613-2

David Lang – Sweet Air
Performed by Senteri Selvaggi
From Child
Cantaloupe Music CA21013

Michael Gordon – Trance IV
Performed by Icebreaker
From Trance
Cantaloupe Music CA21018

David Harris :B.Mus(Adel)
Lecturer in composition at the Elder School of Music, University of Adelaide.

Audio Arts: Recording an acoustic guitar

Even before you start miking up the guitar it is very important you take these things in consideration
< The guitar you going to use would give you the result you are looking for.
< You have new strings on your guitar (Using new strings often helps to bring back some of the 'edge and detail' in the sound)
< Remove any thing, which can hit the guitar and would produce unwanted sound like belt, wallet, shirt buttons or any necklace
< Give the artist a hassel free environment

Once all things are achieved now its time to mike up the instrument. There are various microphone techniques you could apply in order to get the desirable result. We looked at three different techniques.

< Placing a microphone close to the resonant chamber i.e. at the hole would give more warmth and fullness to the sound.
< Placing a microphone near the neck would give the percussive effect brightening the bassy sound
< Placing a microphone right above the shoulder level would give the image as what the player is listening covering the room ambience.
You can use the combination of these techniques and get the sound you have in mind.
As a general rule of thumb remember moving the microphone further towards the neck will brighten the bassy sound, while moving closer to the sound hole will bring more warmth and fullness to the sound. Moving the mic further away from the guitar will increase the proportion of room ambience overall,

Creative programming

References:

Harris,David 2006. Performance and playback of Original works.

Grice, David. 2006. Practical on Session Managment in Pro Tools. University of Adelaide, 21 March.

Haines, Christian. 2006. Practical on Max/Msp Introduction. University of Adelaide, 23 March.

Week 3... Gordon Monro

2006-03-21T16:08:00.000+10:30

Gordon Monro is an electronic music composer with particular interest in algorithmic and generative art. He is a member of the faculty of the School of Mathematics and Statistics, University of Sydney, and a visiting lecturer in computer music at the Sydney Conservatorium Of Music.

http://www.gordonmonro.com/
G.Monro@maths.usyd.edu.au
http://www-personal.usyd.edu.au/~gmonro/

First time I meet Gordon was in early january'06 at a spontaneous music festival in Sydney. I have been wating for him since then because he told me he is coming to Adelaide for Project3 and this presentation.Finally the day has come and he is here..

Evochord is an installation in which a genetic algorithm tries to evolve a harmonious chord. The visual output consists of coloured shapes, one for each note of the chord; red indicates low, green intermediate and blue high pitches.At any time, what is seen and heard is the single most consonant chord of a population of 100 chords inside the computer.

What are You Really Thinking ?.. Is a sonification of brainwave data. There are 26 channels of brainwave data from 26 electrodes placed on the subject's(a living being) scalp, and an additional 10 channels of data recording heartbeat, respiration, eye muscle movement, etc.The sounds generated from the scalp electrode data were modified by the data from the other channels.

Red Grains :An abstract video, with sound created by granular synthesis. His intention was to make an artwork which would give an experience of a waterfall or other natural phenomenon, without imitating an actual natural system.The visuals came from a construction built from two laser pointers, some mirrors and a Lego Robotics kit. The movement of the Lego motors was influenced by two light dependent resistors (LDRs) mounted on the edge of the mirrors, so there was a feedback system.
-------------------------------------------------------------------------------------------------------------
Festival Of Spontaneous music
If you like improvised music, Contact them..
It's run by Clayton Thomas, Jim Denley and Dale Gorfinkel
contact: clayton(at)thenownow.net with any questions
Forward any questions about the NOW now festival to clare(at)thenownow.net

Post your cds to the following address:
the NOW now
64 Myrtle St
Chippendale 2008
Newtown NSW
Australia 2042
-----------------------------------------------------------------------------------------------------------------
Tyndall Concert 2 : 16 March'06 -- "Shivna Kaun"
Spontaneous Music Perfromance
Vinny Bhagat : Laptop , field recordings
Chris Martin : Electric Piano
Kym Gluyas : Video Camera, field recordings.

End Of Fringe concert: 19 MArch'06 : Shivna Kaun Live at Lizard lounge- Hinley St, Adelaide.
Kym Gluyas : Electronics, field recordings
Vinny Bhagat : Laptop , field recordings
Chris Martin : Electric Piano
Luke Toop : Video Camera,Projections & MIDI Glove
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Audio Arts: Gain Structure

When recording any instrument we are trying to achieve cleanest possible sound with minimal noise. To do that it is very important to learn the dynamic range of the instrument you are recording. Dynamic range could be understood as the highest possible undistorted signal to the quietest discernible signal, which is expressed in decibels. Recording above the dynamic range would result in distortion and there can be nothing worse than a digital distortion in your music and likewise recording below means that you are not capturing the signal to its highest limits. While applying any gain to your source, aim for a level below where its starts to peak, where a little safety margin or headroom still remains to accommodate any unexpected signal peaks. We are aiming for a signal before it gets red on the level meter. Any unwanted distortion in your music would only contribute in undesirable results.
Of course microphone placement, distance from the source and patterns of your microphone contribute largely to the end signal you are getting.

Creative programming: Introduction to Max/Msp
Concepts of Max - objects; externals; inlets; outlets; bang; numbers; strings; messages; comments; arguments; patchcords; inspector..Max Tutorials and Topics 1 - 6.
bjective - To introduce students to naturally tempered music, the rich
resultant rhythms and ambience

Forum : Listening To experience a music structured on different principals and to hear unusual sound sources.Introduction tonaturally tempered music, the rich resultant rhythms and ambience
Glenn Branca - Symphony No.3 (Gloria)(1982)
Music for the first 127 intervals of the harmonic series
6 Bowed Electric Guitars & 6 Keyboards and drum set
(guitarists include Sonic Youth's Thurston Moore and Lee Renaldo)
Label - Neutral

Robert Ashley - In Sara, Mencken, Christ and Beethoven there were men and women
(1972)
Text: John Barton Wolgamot
Cramps Records CRSLP 6103

References:

Monro,Gordon 2006..Presentation by Gordon Monro..University Of Adelaide..16 March

Grice, David. 2006. Practical on Gain Structures. University of Adelaide, 28 February.

Haines, Christian. 2006. Practical on Max/Msp.. University of Adelaide, 16 March.

Harris,David.2006.Listening forum.University Of Adelaide,16 March'06

http://www.gordonmonro.com/
Date seen : 1 June'06
http://www.geocities.com/tyndallassembly/ta/concerts/march06.htm
Date seen : 1june'06
http://thenownow.net/festival/default.asp
Date seen : 1 June'06

Week 2...

2006-03-14T05:11:00.000+10:30

Pat Metheny Trio : Wednesday 8 March'06 :
Pat Metheny : Guitar ,Voice
Christian McBride (bass)
Antonio Sanchez (drums).
A concert of my life.This was second best concert I have ever seen in my life, after Billy Cobham and Jean-Luc Ponty in Delhi which i saw about 3-4 yeras back..
Kym bought me the ticket as a christmas present.Isn't he amazing..Thanks kym..

Warren Burt : Australian Composer and performer of electronic and acoustic music. His current research in composition includes random processes, artificial intelligence, improvisation, and interactive systems.
"My work is idea driven, not style driven. I compose out of a sense of curiosity and awareness ... to explore sounds and concepts and their effect"

I loved what he did with text.He was playing with words that slowly start to overlap each other, forming into a 'piece of art'.I tried this same idea in photoshop.I started with text saying 'Im a musician' all over the canvas, gave it a background and then applied few filters to it.This is what I came up with..(please see left image)
At first I thought the words are being displayed as what he is speaking on microphone,but they were pre fed in the compuer.It would be interesting if computer gets words from microphone rather than typing it from the keyboard..Its possible..I have to look into that..

Audio Arts: Session management

Planning has been a vital tool in successful completion of any work. Likewise there are some important steps you have to take before you undergo a recording session. Don’t forget your basic responsibility is to take out the best of the creative talents of the musicians you are going to record without wasting their time and money. Before you even call the musicians in the studio you should be aware of the elements like genre of music, number of tracks to be recorded, instruments to be used in each track, order of tracks, any reference sound they have in mind like they might want to sound specifically like some one and any other information you think would be useful. Give them a friendly-clean atmosphere with a smooth functioning of your equipment. Remember any delay and wait you are going to give would result in a drop of the result you are trying to achieve. Once everything has been setup always follow your standard order of numbering of tracks on the patch bay and on the protools session window. Label each track with as much information you can provide Use the comment window to specify microphone used and any other specifications needed.

Creative computing: Introduction to Max/Msp

Setup : Overview : Menus : Objects : Externals

Weekly Gig Guide :

Shivna kaun : Monday 6 March'06 -- Adelaide Fringe'06 -- Fresh Bait 2nd Concert @ Fowler's Live..
Seeing Orbo : Friday, 10 March'06 -- Fringe Club, Higher Grounds @ 9Pm

References:

Grice, David. 2006. Practical on Session Managment in Pro Tools. University of Adelaide, 28 February.

Haines, Christian. 2006. Practical on Max/Msp Introduction. University of Adelaide, 2 March.

Music & Narrative

2006-03-12T23:00:00.000+10:30

“Is not music the mysterious language of a distant realm of spirits, whose lovely sounds recho in our soul and awaken a higher, because more intensive life? 1” –
Story telling originates with the human need of sharing personal experiences. Every culture in this world seems to have created stories as a way of making sense of that world. I wonder what else we would do if not tell stories? Humans like to form stories in their mind and very often connect it with their personal feelings. Can a bunch of organized sounds tell a story? How does it differ from the point of view of a narrator to the point of view of the audience? Story telling has used sounds to invoke the myth or may be to create a certain emotion. Further I regard human imagination as a story that gets formed within the mind. I strongly believe that it is story telling which makes us human. Right from the time of human birth and till now, we have constantly evolved as a narrative. Music and language How much is music a language? The image of music as a kind of extra ordinary language can be understood from the beliefs in the heart of many cultures and can be very clearly seen from the perspective of science. “Music and language are both temporal sequences. They take place in time and share the basic elements of pitch, accent, intensity and timbre”2. However music contains more layers of simultaneous meaning, which leaves the listener to interpret the message sent a crossed. A lot of cultures believe on the supposed supernatural powers of music to feel close to god. Is it the only language which god understands? Regardless of understanding if that was true, why would someone spend hours in their religious grounds or use the power of music to heal the sick or to assure fertility? The role that music plays in our society is quite remarkable. If you are an African there is no such thing as ‘art music’. Every religious ceremony is complimented with music to an extent that if drummers were not present the ceremony would not take place. If you were an Indian you would not have your first meal before you sing a small prayer in your private temple. All other cultures as well seem to worship music and regard it as the most important part of their life. We have deeply learned about spoken languages from modern linguistics and cognitive psychology can explain our experiences of music.
Philosophical discussions about music traditionally link the subject to issues about human emotion. The Arguments about music and emotions are quite attractive. Musicians quite often use narratives to make sense of their lives, to share their experiences and express their intentions. Someone who is moved by music does not simply replicate the emotions that the music expresses, rather the listener responds emotionally to the beauty or perfection of music. Narrative Theory “Fantasisation can be regarded as a privileged enterprise in any narrative. The importance of the element of fantasy has its history, so close to the nature of reality. The Vedas, the Puranas, the fairy tales and folk tales; all these are primarily perceptions of the imagination and only secondary to those of the rational mind3”. The highly subjective nature of the human imagination is a narrative story, which is formed inside the human brain and is completely responsible for the world we see today. “The universe proceeds from the subtle to the concrete and gets merged into the subtle again, which is the theory of narrative”4. Where there is entry there is always exit, there cannot be any narrative without exit. Scientists are generally aware of the influence of theory on observation. Seldom do they recognize, however, that many scientific theories are essentially narratives. The growth of a plant, the progress of a disease, the formation of a beach, the evolution of an organism – any set of events that can be arranged in a sequence and related can also be narrated. This is true even of a scientific experiment. Indeed, many laboratory reports, with their sections labeled “methods,” "results," and “conclusions,” bear resemblance to a typical narrative, that is, an organized sequence of events with a beginning, a middle, and an end. In comparison to the structure of a musical work, the composer ideally works with themes and motives, which gives a sense of an organized sequence of events. Whether or not scientists or musicians follow such a narrative structure in their work, they do not often recognize the extent to which they use narrative in their thinking and in communicating their ideas. Musicians have been for so long entranced by ‘structure’. The idea of building tension followed by a resolution can be understood as an important concept in composition, which to me is so close to the narrative theory. “Concepts such as cadences, meter and period have enough technical precision in them to justify their complete translation into musical terminology”6. The generative system of rules in composition and the aural experience provides an explanation of the wrong note phenomenon. Listeners can easily sense a violation of the rules, the grammar of the music in the same way they can spot a grammatical error in a sentence they had never heard or spoken before. “The Indian narrative shows a wonderful balance between stylisation and improvisation. The performer follows certain pre-established codes in the overall structure of his composition yet he also puts a stamp of his personality by improvising substantially in the motives and the contents of the overall structure”7. A lot of margin is there for personal freedom with regard to the content and individually invented style but the basic framework remains the same. Any raga played during a performance is a narration of a particular period of time which symbolises the nature and effect we see and the emotion that every moment carries. I see a close relationship in theory, if compared to the western thought, where the modes can be arranged in order of their relative brightness and darkness. If Lydian mode is seen as a brightest mode and compared to Rag Yaman, which uses the same set of notes, one can see a fundamental connection between the understandings of respective cultures. Rag Yaman is an evening raga that symbolises light and brightness - the emotion that time before sunset carries. Another way of looking at it could to compare the relative order of modes in relation to the amount of light present in the hemisphere. The performer is following a narrative approach through sonically displaying the characteristics of a particular time blended with his improvisation skills and present state of mind Conclusion Any art form is tied up with certain boundaries, not in relevance to its production but highly in regard of its use. Music should always be used with moral and ethical values; it should always be positive and expressive. Morals are about a certain kind of behavior and ethics is thinking about that behavior. Music being one of the most sophisticated language which humans have learnt its, transfer and use is of high importance. Music is the effort we make to our self how our brain works. Music of different cultures tells us about their beliefs and becomes a sonic portrait of how their brain works. I believe music being such a pure art form it only contributes towards your path of spiritualization. It fulfills all your desires through its inner sense and leaves your with a high level of consciousness and understanding of your self.
References
(1) Hoffmann, E.T.A .The Poet and The composer .1816
(2) William, Bright.1963. “ Language and Music; Areas of Cooperation” Ethnomusicology, VII No.1, p.26.Also see Henry, Walker Otto.Walker.1970.The Evolution Of Idiomatic &Psycho acoustical Resources as a basis for unity in Electronic Music. Tulane University, PhD Thesis, 1970.University Microfilms. Michigan.
(3) Paniker, Ayyappa K. Indian Narratology. IGNCA. Pp 200. Kalasamalochana series.New Delhi. 2003
(4) Paniker, Ayyappa K. Indian Narratology. IGNCA. Pp 200. Kalasamalochana series. New Delhi. 2003
http://ignca.nic.in/nl002708.htm
(6) Swain, joseph P. Musical Languages.W .W. Norton and Company.London 1997
(7) Paniker, Ayyappa K. Indian Narratology. IGNCA. Pp 200. Kalasamalochana series. New Delhi. 2003
http://ignca.nic.in/nl002708.htm
Newman, William S.Understanding Music. Harper and Row Publishers. New york.1961 Kak,
Subhash.New Theory Of Music’. University of the Philippines.Quezon City, Philippines. 2002 http://www.ece.lsu.edu/kak/manila.pdf 17 October’2006
Crites, Stephen .The Narrative Quality of Experience. Journal of the American Academy of Religion, Vol. 39, No. 3. (Sep., 1971), pp. 291-311. http://www.jstor.org.proxy.library.adlaide.edu.au/v iew/00027189/ap050019/05a00020/0 20 October, 2006
Maus, Everett Fred Narrative. Drama, and Emotion in Instrumental Music. The Journal of Aesthetics and Art Criticism, Vol. 55, No. 3. (Summer, 1997), pp. 293-303. http://www.jstor.org.proxy.library.adlaide.edu.au/v iew/00218529/ap020218/02a00060/0 25 October .2006
Whittington, Stephen. Lectures in Perspectives Of Music Technology. Narrative Theory. University Of Adeladie.2006

Week 1 Robin Minard

2006-03-08T08:33:00.000+10:30

First week back to uni , I was told there is a guest lecturer coming to talk about his work..I could feel the way he started, the calmness in his voice.He is Robin Minard, sound Installation artist born in 1953 in Montreal,Canada.
All the things he talked about in that hour were really impressive.I really liked the composition he played for Vibraphone and tape delay.First thing which really stricked me is the idea of complimenting the space , in this case with an installation.The idea is not to have the music heard by itself but the music becomes part of the environment as a living organism.It does not demand any attention rather becomes another life.Like the growth bend towards light or leaves grow towards sunlight,in one of his work the speakers were placed in a way which looked as if they were searching for light.A lot of his work evokes impression of natural growth and organic life.Another thing he talked about was the way his work could become organic is when it reacts with temperature,humidy and light.He also talked about the architectural way of looking at things i.e how the perception of place changes in day light and in the night.
Silent Music is a sound installation designed for public environments or art gallery spaces in which the public is free to move about.. The loudspeakers and its attached wires form plant-like structures, placed within the space to suggest either their seeking of light or their preference for lighted areas.

Audio Arts: This was David Grice introduction class.David is our new Audio Arts lecturer.He started with telling us about his background as a sound engenier and then he started asking us about our taste of music and what instrument do we play.Its nice to have him as he has got some thing more than just "bookwledge".By this time we decided to enter studio 1 where he was checking up if we could set up a protools session or not.It was disappointing becuase after all this time I was learning to setup a prootool stereo session in audio arts but thats allright, it was David who was new to EMU and wanted to start from scratch.

Creative Computing: Introduction to Max/Msp

Top down / bottom up; passenger versus driver; problem solving; level of granular control.

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"Shivna kaun" Performs at Adelaide Fringe'06 -- Fresh Bait 27 February'06

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Sunday : 5 March'06 : Gigs with Seeing Orbo
2pm : Port Adelaide-- Adelaide Fringe'06
11pm : Fringe Club --Higher rounds, Rundle St ..

Max Lorenzin : Voice, guitars
Declan Lorenzin : Voice,flutes,reeds
Vinny Bhagat : Percussions

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References:

Minard,Robin. 2006. Presentation by Robin Minard. University of Adelaide, 2 March.
http://www.archipel.org/album.html 19 may'06

http://www.cbsd.com/inventory.aspx?id=16369

http://www.mediainmotion.de/1999/minard.html#anchor578254%0D

Grice, David. 2006. Practical on Session Managment in Pro Tools. University of Adelaide, 28 February.

Haines, Christian. 2006. Practical on Max/Msp Introduction. University of Adelaide, 2 March.

http://www.openomy.com/download/a1116200/fowlers%20live%2027feb.m4a

spontaneous music perfromance

2006-03-07T13:51:00.000+10:30

Shivna kaun perfroms on 19 March'06 --Lizard Lounge Hindley street Adelaide

Time: 8 PM - 9 Pm

Entry: $5 all ages

test

2006-03-07T13:40:00.000+10:30

well this is a test..
more info..comin soon