![]() |
|||||||||||||||||
| Weblog |
|
||||||||||||||||
|
Casio Beat 1/20/06 23:10 - permalink - email - category: SoundDesign I've been deep in the tracks, and of course my Casio SK-1 has been with me in digital spirit. It's unable to be played, but I've sampled every noise it normally makes and then some. If you're curious about the sound of a 1980s, semi-toy synthesizer, here's the percussive part of the story. Between editing and nudging the timing on her voice tonight, my lovely assistant Vicki and I put together the following educational audio on the built-in rhythms of the SK-1. Vicki will be lending her sultry vocals to the next BlueDeceiver track out the gate, as well. Casio SK-1 Rhythm Demonstrator (0:19, 44.1KHz, 128kbps, 640k) If you would like these stomping Casio beats in high resolution audio glory for use in your own musical tracks, here's a 1.4MB zipped archive of the individual AIFFs, all cleanly cropped loops at around 123bpm. Just For One Day 10/13/05 22:50 - permalink - email - category: SoundDesign Working earlier with comped vocals, I applied a favored technique for atmosphere and the touch of strange. Where I originally learned the trick on David Bowie's "Heroes" vox is lost to memory, but I've used variations many times. It's tremendous fun while recording live and the vocalist can play with their volume, but with automated manipulation of levels (I use volume envelopes in Ableton Live) may be used in controlled and programmatic fashion on any source. I'm not sure if the progenitor is Visconti or Eno, but my thanks go to either or both for a shining example of emotional soundscaping through studio magic. The basic trick is accomplished with an original close mic vocal take and two (or more) aux sends:
Often I find perfection at this point, but a final light compression and touch of verb to gel the signals can sometimes serve as sonic icing. If you want faithful reproduction, keep in mind Bowie was recorded in a large room with three mics placed progressively farther away from him. As above, vary the wet/dry ratios progressively to emulate the close/far situation, but use the same or identical reverb space on each. Remember: don't stick with tradition or you'll miss all the thrills. I've used this effect on everything from vox to guitars, keyboards to drums, with mismatched reverb spaces and heavy compression and subtractive EQ for sculpting each signal. This technique lasts far longer than "just for one day." Heroes experiment. Noise Subtractive Synthesis 10/7/05 21:03 - permalink - email - category: SoundDesign My cousin, the famous UU & UCC rogue preacher Beringia Zen, asked me to turn a few cassettes of her sermons into compact discs. The source recordings were noisy, so I attempted some minor reduction with Audacity's built-in Noise Removal tool. Noise Removal in Audacity works... all too well. In a recording with an ambient reverb backdrop it removes everything even remotely matching the imprint of the noise. Voices take on the qualities of DMT machine elves shifting through your neurological wiring in the high frequencies... it's a comb filter, of sorts. A main creative methodology in my lab is abuse/misuse of tools. Perhaps, I thought, I should give this a go on drum loops. I did, after applying massive amounts of pristine software reverb. Here's an example: Better still, here's the effect on harmonically rich sources like bass lines, with some post-effect compression to bring up the tortured sonic remnants: Strange sounds make me feel so good inside. Generative Sound 5/30/05 01:45 - permalink - email - category: SoundDesign Jeffrey Radcliffe at Tinctoris is expressing dissatisfaction with the separation of music as incarnated in live performance and in its recorded form. Jeffrey's post prompted me to think about my own work, and just how much is left behind in the process of fabricating a track's final form. What exactly is the separation? On the one hand, there's music as a living organism, created and expressed by semi-unpredictable players influenced by the context of their moment. On the other hand, there's recorded music as a static representation of the original, ever-shifting form, a single thin slice of the overall possibilities. I'm convinced this gap is partially filled by the idea of generative music. In generative pieces, a composition is created without a strictly set outline, but within a set of defining parameters it uses to move and breathe. I realize this is not the same as a performance by flesh and blood musicians infusing their sounds with anger, joy, sorrow and love in a feedback loop with the audience, space and context of their lives on a nightly basis. It's similar, but only as an electronic microcosm of the larger work's domain. It's still only a slice, but a slice expanded in functional dimensions. Until real intelligence is available in our machines, allowing them to function as those mercurial human entities physically playing the instruments would, we're stuck with faking it. Good results can be achieved using chaos equations and other algorithmic processes for randomness within a more defined framework. My own tool of choice is Max/MSP from Cycling '74 but there are others: AC Toolbox by Paul Berg, KOAN from SSEYO (a favorite of Brian Eno), MusicWonk/ArtWonk from Algorithmic Arts, Tangent by Paul Whalley. Ableton Live also has a rudimentary form of algorithmic composition available in its ability to play clips in a column based on various choices and randomization. There's a nice list of tools for algorithmic composition at algoNet. I use algorithmic processes in the construction of my own music often. It would not be difficult to convert some of the frameworks I've created in Max/MSP to stand-alone apps. Perhaps there are some generative net releases in my future. |
the weblog of Vlad Spears Chief Iconoclast - Daevlmakr Media Designing Monsters - vitruvius.livejournal.com reading Emma Bull - War For The Oaks Thomas Jefferson - The Jefferson Bible Baggini & Fosl - The Philosopher's Toolkit listening Beta Two Agonist - Zero Point Field Daevls On FlightDynamics Dankoe, Gorbunov, Zemlyanikeen - Far East Sessions recent Cycling '74 Loves Cats Seemingly Solid Things - Glenn Gibson @ GIVEN drmArm Life In 3d It's Full Of Stars Retracted Landing Gear
category 2Second(fuse) 7 Action 1 Atmos 3 Biome 1 BlueDeceiver 2 Creation 6 Daevlmakr 12 Exorcism 16 Flow 10 Futurism 15 Gear 19 Idea 4 Image 3 Incantation 19 Knowledge 5 Listen 18 LiveMusic 3 Locate 2 Look 3 MaxMSPJitter 16 Politics 16 Quote 1 Read 10 Science 2 SoundDesign 4 Technology 3 Tinderbox 5 Unfälle 2 Vegetarian 3 Vision 2 month 03_02008 02_02008 01_02008 11_02007 10_02007 09_02007 07_02007 06_02007 05_02007 04_02007 03_02007 02_02007 01_02007 12_02006 11_02006 10_02006 09_02006 08_02006 07_02006 06_02006 05_02006 04_02006 03_02006 02_02006 01_02006 12_02005 11_02005 10_02005 09_02005 08_02005 07_02005 06_02005 05_02005 04_02005 weblog bldg.blog Cesare Marilungo Chris O'Shea Christian Fromme Dan Winckler Data Is Nature David Fine Doug Miller Hal Rager Hihiromi hyperTextuality Information Aesthetics Jacob Appelbaum Jaeysin's Xylophone Jeff Vail Jeffrey Radcliffe FlightDynamics Mac Tonnies Maehymn Mark Bernstein Marsha Vdovin Martin Spernau Mediapathic Neomarxisme Onegoodmove Pascal Venier Seth Elalouf Sex In Art Steven R. Livingstone The Nonist Trond Lossius link Better Humans Council for Secular Humanism Creative Commons DailyKos Diesel Sweeties EFF FuturePundit The Heinlein Society HMC MediaLab IFTF Make New Scientist The Panda's Thumb Press Think Questionable Content Rarefaction ScaryGoRound SpaceSuitGroup Scientific American legalese All written material on 2Second(fuse) authored by Vlad Spears is published under the Creative Commons Some Rights Reserved license Attribution - NonCommercial - NoDerivs 2.0 Fight corporate ownership of culture: Create and Disseminate! |
||||||||||||||||