Creative Computing - Electroacoustic - Performance

EDIT 2012 : has been rejigged see
http://littlevegetables.blogspot.com.au/2012/08/totally-modular-rejigged.html
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Inspired by modular synthesisers and Morton Subotnick's ghost boxes this project is a set of modular processes that can be routable in any which way (this can involve occasionally having oscillators with an output range of +3 to +76).

Ever excited by feedback, the performance piece is inspired by Robert Ashley's The Wolfman. Utilising much lower volumes but generally harsher tones.



Unfortunately I found it difficult to create a stand alone application. After finally nutting out various issues such as correct use of capitalisation when referring to filenames etc. The Collective Editor then decided to express a stream of errors previously unseen - as such, the existent stand alone is an early version with a number of unworking components.


Performance piece :
http://www.box.net/shared/cnymgvt01s
Project documentation :
http://www.box.net/shared/s8h90q391v


This is the Max/MSP patches :
http://www.box.net/shared/h4rlayy2vj

and the slightly working stand alone version - OSX
http://www.box.net/shared/d6ysi2vyob



references
Haines, Christian. 2008. CC2 - ElectroAcoustic - Performance.pdf

AA2 - sound design project - game audio

Rocks'N'Diamonds - Game Audio.

RocksNDiamonds (RnD) is an emulation of a 1980's aesthetic. It is an amalgamation of several games rolled into one. I have reworked one of the tutorial levels. The level itself has been slightly modified to make game play much easier, otherwise certain areas of the map and therefore sonic environments would be time consuming and prone to inadvertent player death.

Sound creation aesthetics was governed by a high quality lo-fi sound approach. Using the "Analogue" instrument in Ableton Live 7 for a majority of sounds gave ease to such an approach, with simple oscillator sounds with the use of automation to shape them, and a host of integrated effects (such as reverb and bit rate reduction) for on the spot creation.

Some sounds which I felt needed a richer tonality (such as the player digging, where I integrated a real world mentality to sound creation), the use of foley was needed. Generally putting a sound snippet into the Live "sampler" plug-in and making use of integrated settings, automation and other available plug-ins.

- edited version of Process.doc

Associated production files here :
http://www.box.net/shared/l5fgvi6f30




references

Haines, Christian. 2008. AA2 - Sound Design Project - Game Audio.pdf