Week 10 Creative Computing - Integrated setup - Ableton Sampler

I'm not sure if this was week 9 or 10.....

We (Jamie and I) tried to demonstrate the concepts taught in class by quickly creating a sampler instrument using some short snippets of clarinet that we recorded in class. 

As demonstrated, we used a haphazard approach, using any samples and processing as needed to make drum sounds within the sampler. It is interesting that the source material hardly matters as long as it's interesting. This philosophy even applied to rhythms to some extent. Many of them were created by randomly pasting midi data around and transposing it. 

The effects available in live also make it easy to do something obvious quickly. We used the 'grain delay' and the 'erosion' on a bus to add a pleasing layer of white noise to the sound. 

With two layers of drums, one proper tonal instrument, and a bit turning loops on and off, we made 1'28 of electronic music!

MP3 Link

Reference: Christian Haines. "Integrated Setup II." Lecture presented at the Electronic Music Unit, University of Adelaide, 14 October 2008.

Creative Computing Major Project

Performance Recording Mix

This electroacoustic performance work for trumpet and computer builds from a gentle beginning by layering sound electronically. In order to explore a live improvisation aesthetic, the performance makes use of no pre-existing audio recordings, or rhythmic data. Only a basic form for the work was pre-decided, and the trumpet player largely improvised. This demonstrates that the musical outcome of electronic processing of sound relies little on the source material and more on the types of processes used. The work also explores what defines a piece of electronic performance music. The unique pre-existing aspect of this work is simply a particular processing and temporary recording array that has been configured to be interacted with in a particular way. One computer file, corresponding softwares, and any acoustic instrument are the only materials needed to reproduce the work. Thus, a file replaces a traditional music score.

Every sound that is heard originated from the instrumentalist at some point during the performance. The introduction contains a prominent pulsing that results from realtime processing of the trumpet. In order for the work to progress, the role of the software operator is largely in planning ahead by recording useful excerpts, which can later be creatively manipulated. Jamie was occupied with providing interesting source material through his self-taught trumpet style.

The relationship between the electronics and acoustic instrument are different in different parts of the work. In the gentle sections, Jamie was able to improvise with the setup and receive immediate feedback. In order to create the beat, he interacted with the equipment in a fixed, predecided way by making drum sounds. In louder sections, he is able to play over the music in a traditional manner as if it is separate musician.

Week 9 Creative Computing - Integrated Setup

Performance MP3

Jamie and I created a piece by improvising using an integrated setup involving Bidule, Live, the Novation controller, an acoustic guitar, an SM57, and the Mackie mixer.

Within the computer, the Bidule patch was something I have been experimenting with at home in preparation for the major project - this is the first time I've used it with live audio. The string sound is from a pleasing sample we quickly loaded into the simpler in live (with reverb and delay). Bidule was the rewire host, and live was simply rewired in to provide the string sound.

I played synth strings via Novation and tweaked minor parameters of the Bidule patch during the performance while Jamie played guitar. I would have liked to have more control over Bidule, but that will require some further tweaking. I think that using the software with live audio input where we could experiment and interact with it helped us gain better results.

Obviously we used much pre-existing patching in the setup, however I think that we still created an interesting live performance by adding sound and interacting with the patch.

Reference: Christian Haines. "Integrated Setup I." Lecture presented at the Electronic Music Unit, University of Adelaide,  7 October 2008.

Week 8 Creative Computing - Ableton Live 2 - Let's Do the Time Warp Again Please

The Audio File

Here's my project for this week - it uses a bunch of samples from a recording of a school concert, a musical, and a rock band.

The warp markers were extremely useful to me. This interface for matching loops is so intuitive and accurate and makes it easy to work with looser beats that may fluctuate in tempo. It is so quick it would be feasible to do minor editing with this feature while playing live. I think the performance aspect of this software can be good when working with samples, because often really interesting combinations are found by trial and error which is easy in a performance environment.

I find myself losing touch with the macro form of the piece when sequencing live, however this is easily tidied up in the arrangement view. In creating this 45 second piece, I actually created a 2:20 groove and then raised the tempo and judiciously used "delete time" to get rid of the less interesting parts.

I had to just go for it and work quickly knowing that I couldn't save and improve the song incrementally over many sessions. This approach forced me to be more productive, creative and heavy-handed.

Reference: Christian Haines. "Week 7 Creative Computing - Ableton Live". Lecture presented at the Electronic Music Unit, University of Adelaide, 6 September 2008.

Week 7 Creative Computing

Wasn't sure if it needs to be 45 seconds or not?

Groove 2 MP3 (cut to 45 seconds)

Groove 2 MP3 (not cut)

I practiced a little at trying to get all the samples loaded really quickly and then switching scenes at the right moment. I think that the realtime nature of this software makes it an instrument that requires practice to really be able to improvise quickly. I wasn't able to do very much at all after 45 seconds, however with a little longer I was able to explore more, changing the loop length in order to switch time signature and create polyrhythms.

There are some quite good live DJ-type effects such as the "grain delay" which I used on trent's vocal. The XY controls are obviously geared towards performance.

I think the key/midi control options would really improve the agility of the performance if the "player" is skilled, however some setting up of the project may be required to make use of them.

The immediate nature of this performance sequencer and its restriction of saving meant that in some grooves I had happy accidents and discovered a new technique, effect, or sample combination while improvising. This is an example of the way in which restrictions may be conducive to creativity, which is then sped up by the focus on live performance.

Reference: Christian Haines. "Week 7 Creative Computing - Ableton Live." Lecture presented at the Electronic Music Unit, University of Adelaide, 6 September 2008.

Week 6 Creative Computing - More Logic Skills

Isolation 2 (Slightly Dub)

I found it rather difficult to apply many of the new skills taught in the tutorial to a song that had already been completed. In order to try to demonstrate the techniques and make a noticeable change to the song, I've made some adjustments.....

Added the enveloper to the drums. I've overdone it to the point where there is too much attack but at least you can tell it is there. I found this plugin more useful on my own recordings.

Humanized the drums. The timing and velocity is just slightly randomized and I think it makes the looping a little less obvious.

I added reverb to the instruments so they sound a little more dub. Particularly the drums have a very fake cavernous effect (I chose this deliberately in space designer).

Redid the arrangement a little.

Last minor touch.... REPLAYED THE MELODY THROUGH AN ARPEGGIATOR! which I lovingly configured in the environment as per screenshot above. One note is converted to a chord via transformers and then tastefully arpeggiated [to hell and back] to develop the melody and add a minimalist flavour.

Reference: Christian Haines. "Week 6 Creative Computing - Logic Skills 3." Lecture presented at the Electronic Music Unit, University of Adelaide, 2 September 2008.

Week 5 Creative Computing - Isolation (MIDI Reggae Version)

Isolation MIDI Reggae Version MP3

I thought it would be interesting doing reggae as opposed to rock or something because it's got a really loose feel that is hard to emulate with MIDI. I used a large dynamic range in the hihat programming to emulate the heavy accenting of a real reggae drummer. I also allowed the notes to be not exactly on the beat with the kick and rim click landing slightly behind. I emulated strumming on the guitar which was also lagging behind the beat. I programmed the bass by ear, using a varying amount of swing in different parts of the groove. I noticed while programming that quantized rhythms did not sound at all right in the bass part due to the style's complex feel. I added a slide which does instantly make the part seem less synthetic as we are not used to hearing MIDI instruments imitate this technique.

Apart from all that, I think that Joy Division should have replaced Ian with a trombone player and kept playing their old stuff.....

Reference: Christian Haines. "Week 5 Creative Computing - MIDI Programming and Humanization." Lecture presented at the Electronic Music Unit, University of Adelaide, 26 August 2008.

Week 4 Creative Computing - Logic!

NIN Ripoff Attempt MP3

NIN Ripoff lso

In order to explore logic a little and demonstrate a MIDI sequenced project, I decided to try to shamelessly rip off Nine Inch Nails a little. Listening to them afterwards, this project sounds no-where near as aggressive, but I don't think it's important.

I created most of the original MIDI data by hand and quantized it for a horribly rigid sound then edited it to add some new material. I created the (barely audible) triplet by changing the grid spacing to 1/24. The hat build is obviously manual. The drums were created from 2 instances of Ultradrum, one of which was distorted. The synths were slightly edited presets of the ES1 with some distortion for a bit of extra grit.

The bell sounds are FM, and there is a piano, an organ with a fast rotary speaker and another with a slow one.

Reference: Christian Haines. "Week 4 Creative Computing - Logic." Lecture presented at the Electronic Music Unit, University of Adelaide, 19 August 2008.

Week 3 Creative Computing - Modding the Spectral Freeze Crossfader

Here is the updated synth:

Audio Example

Patch File

It was already quite complete with a fair few modulation options so I haven't changed much.

Additions:

Key -> Filter Option

• Check the box to sync the filter frequency to the pitch of the note so you can use it to emphasize certain harmonics or the fundamental and have the filter pick the right range for any note.

FM Synthesis

• You can modulate the pitch of the original oscillator with another high-frequency oscillator by a variable amount.
• The frequency of the modulator is locked to the carrier and is defined by its ratio to the carrier.
• The original oscillator can now be sent to the outputs bypassing the spectral section and a mix can be created between the original FM section and the freezer section which is also fed from the FM section.

FM->Freezer Envelope Crossfade

• You can make notes begin with the emphasis on the FM section and then fade towards the more atmospheric spectral section over a variable time.

FX

• Recorded the audio demo with some FX.
• One of them is this stereo modulated delay thing. 
• Basically the delay time is modulated by an oscillator and the oscillator is the opposite phase in either channels.

Reference: Christian Haines. "Week 3 Creative Computing - Modular Programming with Bidule." Lecture presented at the Electronic Music Unit, University of Adelaide, 12 August 2008.

Week 2 Creative Computing - FFT Freeze Crossfader Synth

After experimenting with the "FFT Freeze" bidule, I attempted to build a synth that uses its glassy digital sound. I fed the FFT chain from an oscillator that emitted the frequency required. The FFT freezer is triggered on note on so that the new freeze is of the new note. I added a harsh, random frequency peak filter between the oscillator and FFT analyser so that every freeze has a different character. 

To make the sound less static, I implemented a refreeze at regular time intervals. To make the sound less static, I added a second freezer with a freeze cycle 180˚ out of phase with the first one and then a crossfader that crossfades between the two freezes and is phase synchronised such that refreezes are not heard and the sound is liquid and musical. A compressor decreases the swelling resulting from the primitive crossfader.

Added amp and filter envelopes. 

I had heaps of issues trying to get the patch to stop glitching when it's polyphonised possibly due to the several CPU intensive FFT bidules. As you can hear, I still have some problems, however slow attack pads which this synth is suited for are generally click-free. 

Audio Example - Includes delay and reverb.

Patch File

Reference: Christian Haines. "Week 2 Creative Computing - Modular Programming." Lecture presented at the Electronic Music Unit, University of Adelaide, 5 August 2008.

Week 1 Creative Computing - Bidule experimentation

I tried to experiment with a few different modules to create a sound work. After experimenting with the step sequencers, I decided to focus on the 'stochastic midi note list' as the source for most of my midi data. In this object based environment where the emphasis is on creative routing and processes, I think it makes sense to leave the source notes to chance (to some degree) rather than using copious amount of sequencer objects.

Beat

• Separate stochastic note list for each drum
• Different settings for each drum
• Used a transposer to change note from A to desired note

Toned backing sounds

• Various synths fed by a sequencer or stochastics

FFT

• Some sounds were created from FFT data created by analysing audio from a synth controlled by both stochastic note list and live midi input
• FFT data resynthesized after processing
• FFT data is converted to midi and triggers synths (claw and waveshaped drum)
• The midi data is then looped back to the synth that feeds the FFT analysis to create an interesting data loop.
• During the audio example performance I played some MIDI data live.

Occasional FX used eg reverb, delay, stereo spread reduction

If only I'd experimented a bit more first because now I've just discovered the wonders of parameter linking and the xy pad.

Bidule File

Audio Demo

Creative Computing Project - I Say Concrete Without a French Accent?

This piece explores the different musical outcomes brought about by the use of different equipment and associated techniques. The entire work is bound by the music concrete ideology and was created only from the sounds of food preparation equipment.

Part 1
This section follows the journey of a food preparer using traditional music concrete techniques. The microwave’s whirring sooths the user to a relaxed then they are roused by the chaotic beeping of several timers and the boiling of the kettle. Processing includes reverb, delay, flanger, varispeed and compression. The style of the result is inspired by pioneering concréte artists such as Pierre Henry and Pierre Schaeffer.

Part 2
Sounds of a microwave, kettle, beaters, glass jar and bowl are intensely processed using unpredictable software such as Soundhack and Fscape and sequenced in Pro Tools and Reason. This part draws inspiration from modern electronic artists from the “IDM” subgenre.

Part 3
A return to the style and techniques of classic 50s concrete as in part 1. The dishes are washed, however one cannot resist making music with the sounds of the glasses and cutlery while undertaking this task. The main sounds used are running water, a gas stove being lit, the ringing of a struck knife and the sound of a glass being played percussively.

I Say Concrete Without a French Accent? mp3

Score

Screenshot of Pro Tools session for part 2.

Week 10 Creative Computing - Meta Synth

Here is my Metasynth soundwork

There are several sections that I composed using the image synth and the effects room.

Part 1

Used the image synth's sampler instrument loaded with quote samples

Sequenced a piece using the colours to pan the sound

Part 2

Used the image synth with it's default instrument and a pitch scale based on harmonic series.

Much smudging was used to create cloudy ambience

Bleeps created on a second layer using the tool that creates repeated notes

Part 3

I used reverb, compression and intertia on part 5 to create a pad sound and then used the harmonics effect to add extra interest

Part 4

"Come" sample was resonant filtered in stereo then turned into a beat using the delightful "shuffler".

Part 5

Used some "grain" and "stereoecho" to freak out the straight rhythms of part 4 and then used inertia to make the hits ring. Reminds me of the first track of Confield by Autechre.

Week 9 Creative Computing - SoundHack/FScape/NN19 GlitchFest

I tried to explore SoundHack and FScape as much as possible this week while creating a sampler instrument of glitchy effects that could be used in genres such as IDM in combination with fuller drum sounds. I started with my library of voice samples and began processing with both applications. Sometimes I chose files because they contrasted and I thought they would yield interesting results, while other times I chose randomly. Every so often I listened to the library and deleted the boring files.

I used SoundHack more as a utility to lengthen or pitchshift files with the phase vocoder and to create more synthetic tones using convolution and mutation. FScape was used to further process these sounds and erratically introduce more hardcore glitchyness. I found that the selection of audio files generally affected the result quite strongly and so experimentation was important to achieve interesting results. The manual is hilariously vague at times and very technical at others.

Performance

I ended up with 44 samples which I imported into the NN19 and automapped (1 sample per key) I then placed the instrument for 45 seconds using the pitch and modulation wheel (assigned to low-pass filter) and aftertouch (also assigned to LP filter).

Week 8 Creative Computing - Sampling

My sampler performance

Sorry that it's mainly novelty noises......

I took around 12 very short phoneme samples from the quote and assigned them to sections of the keyboard. I found myself attracted to the snare and hat-like "shhh" and "sss" sounds (no processing was used) and also an "mmmm" which had a stable pitch. I reconfigured the sample layout so that these percussive sounds would be easy to play and I had a large range of "mmm" to groove on. The loop function was used on some sounds. I assigned the rest of the phonemes to the rest of the keyboard for icing. I creatively altered the root note of each sample using command-click to make some playback above their original pitch and some below.

For extra expression, I began assigning controllers to modulation destinations as below.

Aftertouch - filter frequency decrease + LFO level increase

LFO - noise wave - panning

Modwheel - filter frequency decrease and resonance increase

I experimented with the envelopes and while they would be very useful to create interesting sounds, I did not use them much in this exercise because I felt that using the same harsh envelope effect on every sample would make them sound similar and stop them being contrasted effectively.

Week 7 Creative Computing - Sample Library

My compiled library.

Instrument Sound: Clarinet note becoming multiphonic

Found Sound: Clarinet case and accessories being dropped

Generated noise: Mid-range saw wave

Ascending filter sweep

• Filtered a clarinet note and cut out a section
• Timestretched it and pitch shifted for a chord
• Automated a sweeping low pass filter and a peak band (for resonance). Two EQ plugins used for heavy boost
• Pitched-down heavily filtered saw wave underneath

Descending filter sweep

• Clarinet portion of above reversed

R2D2 Rotting in Hell

• Sections of the clarinet case
• Slowed down, lowered in pitch, 2 tracks
• Reverbed
• Automated peak EQ frequency by dragging knob insanely
• Backwards reverb trail created from snippet, left channel pitchshifted up a semitone

Chilled Synth Pad

• Many layers of pitch shifted saw wave sample with many layers of EQ and volume envelope

Panned Bleeping

• Short toned portion of clarinet case drop (the metal mouthpiece cover rang) timestretched and pitch shifted, placed on multiple panned tracks
• Backwards reverb

Descending flutter then back up

• Heaps of tracks with systematically varied panning, EQ peaks and delay time
• Clarinet note and clarinet case excerpts were placed on descending tracks

R2D2 Finally and Efficiently Dying in Hell

• Buzzy sound created by clarinet with very short delay
• Clarinet case section with long delay and reverb

Clarinet with glitchyness

• Clarinet, it's case and protools operator playing in a trio

Marching Beat

• Beat from clarinet case with pitch shift, EQ, fades etc.
• Amplitube, delay, fades on clarinet

Glitchyness

• Edited, reversed, timeshifted clarinet case

Week 6 Creative Computing - Mixing the Guitar Sample Project

Mixed Project MP3

I'm assume that mixing an electronic piece refers to using techniques associated with mixing conventional recordings such as realtime effects, automation, volume and panning etc. I already used all of these because I think they are important creative tools in electronic music.

Some of the changes I made to the session since last week were aimed at making the sounds more clear and balanced while others are probably more creative endeavors. Though I miss the greater ambiance from last week I do like the beat-focussed sound. I guess the point I've changed the sound and demonstrated mix techniques.

New changes

• Added punch to kick and snare using compression, EQ, and double tracks with different processing.
• Bus compressed drums
• Used pan automation on individual ambient sounds so they all sweep from the middle to a side
• Processed ambient sounds in a separate bus
• Decreased volume make beat more powerful
• Cut bass for less muddiness and boosted lower mids for warmth
  
• Used volume automation to create dynamic swells
• Used automated left and right panning on the the intro ambience bus to make sound spread outwards from the centre
• Automated a low pass filter on the master bus during intro
• Volume automated a sudden master volume increase as the drums begin

Week 5 Creative Computing - Piece using 1 Guitar Sample

I created a short electronic piece using only one guitar sample and protools. I used the Audiosuite to radically mould samples and the realtime effects to mix the project.

Guitar Sample Project MP3

Ambient Pads

• Cut single chords out from guitar sample
• Timestretched them to be longer and sound more glitchy and electronic
• Compressed, EQed, reverbed, delayed
• Applied Amplitube in some cases
  

Snare

• Cut out a short transient
• Distorted with amplitube to move towards white noise
• Faded out for a percussive sound
  
• Compressed, reverbed

Kick

• Cut out guitar transient
• Pitch shifted down an octave
• Cut lower mids extremely while boosting 80Hz and 3kHz
• Faded out
• Compressed

Whines

• Grabbed a chord
• Timestretched it
• Used EQ with very high Q value to boost fundamental frequency and one overtone by >15dB
• Applied heavy high and low pass
• Pitch shifted to create any pitched sound I needed eg intro sounds
• Bass sounds were created by pitch shifting
  

Week 4 Creative Computing - A4 Paper Score Interpretation

I tried to interpret the score to create a piece of about 45 seconds using only my processed paper samples.

The Work

1. I used the most rhythmically textured sound that I created in SPEAR to match the texture of the score. A filter sweep and fade in represent the upward motion.

2. 5 distinct beats created out of a combination of different rhythmic hits that aren't perfectly in time represent the next 5 sketchy lines.

3. The round ball is rendered as a rounder, warmer sound which sweeps outwards then inwards using high and low-pass filters.

4. The more cluttered vertical rectangles became a cluttered beat that uses many overlapping rhythmic samples on different tracks that are panned and EQed differently for richer texture.

5. The sparse, scattered pieces section is my sweeping upwards and downwards samples. I reversed the upwards one and added it to the downwards to reinforce it. Stereo delay used to create a "speckled" sound. I insist that you close your eyes and imagine a piece of paper being torn up and then thrown into the air.

6. Next comes clear, solid beat (entirely paper samples). You can hear the ephemeral fluttering after the first short beat section. In the second half, some small parts are less powerful and descend downwards as in the score.

7. A smoother sound descends downwards and then increases to a lower height and descends downwards again using a resonant low-pass filter.

Week 3 Creative Computing - SPEARing the paper samples

Alien Jazz

• Start with paper rubbing sample
• Rectangles were transposed and shifted to form dense tones
• Tones were dragged around to create "melody"
• Overall pitch lowered
• Sculpted existing sound to cut treble

Alien Barn Dance

• Original sample was a piece of paper being flapped
  
• Selected each flap individually and changed it's pitch using the transpose tool so the pitch increases
• Selected a chunk of audio and used transpose to turn it into a dense rectangle. Copied and pasted square and moved it to create chirping melody.
• Created synthy pad by timestretching the last flap
• Copied and pasted entire document and transposed down then moved up
• Coped and pasted entire document again and selected and rhythmically displaced frequency bands
• Copied and pasted bass hits creatively

Alien Spew

• Began with short snippet and timestretched it
• Dragged parts up and down to change pitch

Alien Greeting

• I did similar stuff to alien spew
• More copying and pasting and pitch shifting to create blips

Alien Rainforest

• Transposed all the audio down
• Cut time gaps in it to make a stuttering effect
• Selected all the audio, copied and pasted it and timestretched it to be shorter/faster
• Dragged these copies into different frequency bands at different times over the original

Alien Desert Winds

• Cut down into the audio using lasso to make a filter sweep
• Dragged rectangles of audio around to make high pitched drones
• Boosted lower frequencies