aa - week 12 - spatialisation

right to left - two copies panned left+right. each had sweeping eq (freq of high shelf) and sweeping volume. also slight delays - when sound was too the left, the RH sound was delayed a few ms. then as sound moved to the right, each file was adjusted to give more distant sound a delay.

back - two copies. HPF on one, LPF on other. HPF lower in level panned to 9.30 oclock, slight delay. LPF relatively higher volume panned to 11 oclock, slight reverb.

then combined the two concepts to get a sound that moves from left forward to center(ish) and then back to the right. using three copies, with the third having a BPF and phase inverted (just for good times) - using all above techniques.
the picture is of this one - you can see also a bit of reverb mix automation, as the sound gets closer the mix gets less reverb.

the fourth is slightly to the right. I used 3 copies, each with a stereo eq setting and some phae inversion, and also slight delay. i like this with no reverb.

spatialAM.mp3

http://www.esnips.com/doc/392942f5-8efb-4853-99a8-69fd5144db22/spatialAM




Haines, Christian. Audio Arts week 12 lecture. University of Adelaide, 23 October 2007.

pp 159 - 164. Sonnenschein, David. 2001, Sound design : the expressive power of
music, voice, and sound effects in cinema, Michael Wiese Productions, Seattle, Wash.

White, Paul. 1994, 3D Mixing: Giving your mixes more space, SOS Publishing, 2004,
.

White, Paul . Robjohns, Hugh. Bell , Matt. 2002, You are Surrounded: Surround Sound
Explained - Part 7, SOS Publishing, 2006,
.

CC - Week 11 - integrated setup (3)

I haven't changed the bidule since last week (other than changing various values and a little bit of routing).
Above is obviously a screen shot of Plogue. I didn't take one of Live :( at the time I forgot and didn't save it, keep'n it live and all that.
In Live, I introduced a number of samples into the Simpler and then adjusted individual settings. Also I used a reverb with an edited envelope send.

So thoughts this week ;

I did this using a VSTi style piano for access reasons.. but noticed the main thing is timing. Using midi FX in plogue, and then programming edited piano sounds rhythmic style (in simpler) makes for a bit of an abstract output - so either work on making it more regularly rhythmic or more regularly abstract.

Using semi tuned samples means playing in key - that's just a practice with the final setup style issue.

and I can't quite work out how to change tempo :? humorously enough I just happened to have all the delays in the factors of 250ms and 333ms so it wasn't too bad.

The audio is a 2 minute excerpt from a longer duration.


http://www.esnips.com/doc/54fe440e-964b-4146-97f1-1332f08b35c8/week11_bodycoustic
this should be the address.



Haines, Christian. Creative Computing week 11 lecture. University of Adelaide, 18 October 2007.

Beaulieu, Sebastien; Trussart, Vincent; Viens, David; 2007, Bidule v0.95 user manual,
Plogue.

AA - week 11 - spectral synthesis

Once again I had some fun with Plogue.

I quite enjoyed mixing up the freq + amp signals (fft) between different sound bases.

The sounds I was using was a noise source, 3 tone generators (1f, 2f, 3f), and samples from my FM and additive synth adventures.

To these I added a little parameter modulation, lots' of messing with the routing and volume adjustments.

I also played with the FFT window size, but found I liked it low (512).

pp126 - 136. Miranda, Eduardo. 1998, Computer Sound Synthesis for the Electronic

Musician, Focal Press.

Haines, Christian. Audio Arts week 11 lecture. University of Adelaide, 16 October 2007.

CC - week 10 - integrated setup

I went into studio 5 to once more battle with the Disklavier.

This, the second time, was once again a battle with technology.
And once again, when all hope was lost, rebooting the device saved the day - it only took me an hour to get it working :P Hmmmmph, rebooting a piano


I did spend at least 5 minutes just playing the Disklavier from the Novation just to watch.. and initially when I used both the In and Out on the Novation, I had a 1/2 sec feedback loop happening.. much enjoyment !!
the waves of key movement travelling up and down...

RESULTS
The latency is large enough to effect performance, so I will have to incorporate such into the performance - unless there is another setting yet to explore.

The responses are not always as expected, example being it not always playing the notes the transposition bidule should be playing.. I think this was dependant on note velocity and duration.
This I assume is down to the Disklavier's mechanical action.

And the Midi buffer bidule occasionally decided to not send anything. At this point, I am not sure whether it was actually the bidule or perhaps the Disklavier not reacting.. further research !!

Still,
much great advancement on the glorious road to revolution and freedom !!!

The example below is not the best section of the recording I did. However, I did it on my mp3 player without checking, and it is the most free of distortion..

http://www.esnips.com/doc/94915655-06c2-4761-ada2-4fad4a30bc0a/Week10piani

This one features distortion but more piano goodness.

Haines, Christian. Creative Computing week 10 lecture. University of Adelaide, 11 October 2007.

Beaulieu, Sebastien; Trussart, Vincent; Viens, David 2007, Bidule v0.92 user manual,
Plogue.

aa - week 10 - additive synthesis

Once again I got a bit too excited with Plogue.

I did the basics; introduced multiple oscillators and gave each one a volume, pitch, filter envelope.
Had an extra fun time by putting summing the individual volumes, and using that as a divider on the end signal to keep it from going to far over 1 (except for those nasty filter squelches)

Then gave the envelopes a negative potential as well..
This caused me to spend a while on neatening up the filter envelope - as the filter cutoff has particular tendencies to bug out when too high or low.. this was one of my extra fun times :) giving it a changing gradient as it got closer to 20.

I also had a bit of fun with polyphonising the whole thing..
I was using mulitple UI's to keep it a reasonable size, and the master UI would call up the individual oscillator UI at request.. however when the whole thing was polyphonised, I would get a UI for each polyphony voice. ie lots..

So this image below is the inside of one oscillator.
I had four of these, and each was polyphonised, and then inside another group.



But by polyphonising in this way had other problems. When I would unpolyphonise so as to edit, the master UI button would disappear - so I would have to replace it.

Here is the 'voice' UI.



Picture of the sound.
All computer game noises this week.



GOOD NEWS
audio is now uploaded !!



http://www.esnips.com/doc/dbde5811-85da-4966-b23d-674c8d6c7433/week09_addSynth




Haines, Christian. Audio Arts week 10 lecture. University of Adelaide, 09 October 2007.

p124 - 126. "Spectral Modeling Techniques". Miranda, Eduardo. 1998, Computer Sound
Synthesis for the Electronic Musician, Focal Press.

Reid, Gordon 2000, Synth Secrets - Part 14: An Introduction to Additive Synthesis,
Sound on Sound.

CC - WEEK 9 - INTEGRATED SETUP

I've got to say, that Plogue has been incredibly stable for me at home. So when I went into studio 5 with Freddie, and forgot to save - it crashed. I think it's probably crashed, like, once over the last couple of months...mmmm.
So when it crashed I was, like, totally surprised :P

Anyway, we came out with a bit of experience, and thanks to Freddy, the idea of using an FM oscillator for a modulator - very cool..

So I acheived my finished product at home.

I had trouble getting the relative Parameter Modulator to act in what I considered a coherent manner. Setting it up with an osc producing a Ramp waveform, the modulated parameter just continued to go up + up... even using other waveforms it behaved surprisingly.
Using a triangular wave produced an effect like the wave below. The sine was similiar, and the square like a triangle...






http://www.esnips.com/doc/4ff8e78e-bd15-4a12-8407-a2f070b63834/week9_realtime




Haines, Christian. Creative Computing week 09 lecture. University of Adelaide, 04 October 2007.

Beaulieu, Sebastien; Trussart, Vincent; Viens, David 2007, Bidule v0.92 user manual,
Plogue, viewed 09/10/2007,

aa - week 09 - FM synthesis

I got all excited and decided to build a multi-operator FM synth.



Finally I worked it out and got a reasonably manageable (I thought) 4 operator version working.



Using the audio matrix for routing was incredibly useful (especially once I started hitting the random button!!)
Not that all the channels did anything :) 1 - 4 operator in/ out (source and modulation). 8 in LFO. 7 + 8 audio out to mixer.



My major problem was that I forgot about frequency scaling (for melodic style output).
Once that was sorted my major minor problem :) was the oscillator bidule output level - as an audio module versus a modulator module.

The modulator intput I multiplied by the note frequency, which I figured would give me a range of 0hz to the pitch for the modulation freq, which would be adequate with the amplitude range of 0-1.
But this wasn't enough!!! I found to get really effective I needed to crank the output (using up to 10).
I'll have to give this more thought.









Haines, Christian. Audio Arts week 09 lecture. University of Adelaide, 02 October 2007.

Truax, Barry. 2006, Tutorial for Frequency Modulation Synthesis.

Miranda, Eduardo. 1998, '3.2 Frequency Modulation', in Computer Sound Synthesis for
the Electronic Musician, Focal Press.

mtf - instrument of wobblyness

well i've built the instrument of wobblyness, and well, it's a bit messy...




BUT BEST OF ALL - it's mounted in a cardboard box :)
lo-fi aesthetic for all round budgetness...

At various stages throughout its construction, it went through design changes :)

Last of these was to introduce a seperate power supply for everything that wasn't the tape motor controllers (attempt at noise suppression - that pulse wave just leaks through everything)...and I don't have enough jacks.... so alligator clip mania !!!

Anway, it just begged for a patch bay style interface (more alligator clips), which I'll probably just keep on expanding because there is still a lot of space.

Presently, I am using two walkmans, two square wave oscillators and two ring modulators.

There is space on the Arduino for another 4 motor controllers, 2 square waves, 2 ring modulators and then there's I think 2 more switches on the 2003 chip which could be utilised.

I doubt I'll get as excited as I could, as 2 simultaneous sources with modulation is probably a good level of interactiveness for real time performance - although that pulse wave out of the arduino (driving the motors) through some ring mod sounds great !!

Here's a sample featuring two tapes of speech, and 1 ring mod.








thanks to Seb, for his invaluable assistance, help, aid, facilitation etc....