A new project I have just started has had me editing a lot of relatively long audio files. I have to cut them up separating the noise from the spoken word, normalize each file, and add fades to the beginning and end. Then, I have to export them. I was using Audacity, which is a great (though ugly) audio editor. However, there are some problems with batch work in Audacity that ended cost me a lot of time and ultimately making it unsuitable for my purposes. Finding no app for mac to quickly batch normalize, add fades, and save as a 48k/24-bit file, I decided I would bite the bullet and try to *assemble a bash script to do the tedious work for me. Read the rest of this entry »
For live electronics (supercollider) and 4 channel audio.
This piece is the first of a series (still in progress) of pieces that explore feedback networks, interactivity (perceived) and aural serendipity. The recording below is one realization of the piece as each time the code is executed the results vary. It has also been modified from the original (for four channels) for stereo.
nov 2012
SuperCollider Code (executed in real-time.)
I just finished a submission for the SCTweet-a-thon, this time being held at WOCMAT. (Please note that because of WordPress awesomeness (sarcasm… drip drip) the code below runs out of the visible area of the post. You can see if all clearly if you copy and past it somewhere else.)
Here’s a 4 minute recording of the code in action:
It has been almost five months since MuCo performed for the 2nd time at Ibeam and for one reason or another the recording has sadly sat neglected on a hard drive since then. I finally dug it out, mixed the tracks together (output of kane + scacinto) and here it is for your listening pleasure.
(Just in case you are wondering what the laser-gun sounds are that occur at the beginning and, even more noticeably, during the middle of the recording [11:18 ->], they came from a magical black box that Kane made and I played without knowing how it worked. Hilarity.)
I recently came into possession of a 1992 Mac Classic II personal computer. How is a matter of top security, but I assure you it was legal.
Over the course of several days, this machine went from DOA to fully functional computer music production facility. All despite lacking an ADB keyboard! That’s right, the sonic awesome you are about to hear was produced sans querty keyboard. Gotta love a computer you can control almost completely with a one-button mouse.
Without too much more delay, here are the “pieces.” All were recorded in the jankiest of fashion* due to the lack of a mini-to-mini TRS cable. The sounds were generated in Super Studio Session at 22kHz 8-bit mono and recorded to 22kHz 16-bit then transcoded to mp3 then whatever SoundCloud did to them.
The Schubert file was an example included with the “strings” instrument collection.The rest were “composed” by myself, Brian Kane, and Paul Coleman.
New NRT MuCo free jazz improvisation. Instruments: bongo, clarinet, organ, bari sax. Listening to it a number of times I can’t help but think that this is what Terry Riley would have done in the 60s if he had had a Mac Classic II, only several hours longer.
Entire 68k playlist! :D
Mac Classic II complete with ADB keyboard and mouse. Thanks Mark!
**It’s called two banana clips on a mini-to-1/4” TRS attached to another mini-to-1/4” TRS reversed. Yup. That’s how we role ;)
In anticipation of our upcoming performances March 12th and March 20th, we (MuCo) improvised a set tonight using our new patented MuCo Flouper® and recorded the sonic joy that resulted. Here, for your enjoyment, is the 35 minutes that occurred AS it occurred, recorded in Hi-Def audio and reproduced for you in stunning stereo!
Here are some pictures and a short video from FridayNightThing II (Feb. 25th.) A big thanks to Heather for taking all the pics and video, editing them together, and putting them online. As always, a big thanks to all who came, participated, and spectated. The next FridayNightThing will be on Friday March 25th. Get out your pots and pans and plan on joining us!
I realize from looking through this site that I need to start posting more code (and resulting recordings.) Part of my motivation is that SC3 (now 3.4!) never ceases to amaze me with its possibilities. One can, with a very small amount of code, achieve some incredibly intricate, beautiful sounds. The below is one example.
The code all fits in one function ( {} ) and involves 6 UGens and a couple of variables. Basically, the LFNoise1 UGens are random line generators. I’ve nested them inside each other to add even more variability in how the randomness occurs, how often and how much the line moves within the given range. This are then duplicated several times for each parameter (using the ! operator) and applied to the sine-tone oscillator’s frequency, phase, and amplitude parameters. All is wrapped in a warm reverberant blanket of FreeVerb for that roomy effect. Note that the way I’m using the ! operator is sort of a hack and creates many redundant versions of the same integers. This can result in channel number mismatches and amplitudes of over 1. To solve this, the code can be simply modified with a Mix UGen that mixes the array of channels down to (in this case) 2 channels, and adding a multiplier of 0.5 ( ) * 0.5}… ) to keep the amplitudes below 1.
Note the above uses an added method called drawAndPlay which graphs out the above code in GraphViz so one can visually see exactly what’s going on. The below png file (click it) shows what happens behind the scenes.
Here is a recording of the above code. Note: each time the code is run, the results are different, sometimes subtly, sometimes more noticeably.
The beauty of SC3 is that it is extremely customizable/flexible in terms of coding styles. The above code could be condensed even further, and made to fit in a tweet, for example, but for visual and pedagogical purposes I made it more visually self-explanitory.
I will hopefully post more small examples as the summer weeks pass by. Stay tuned, and stay cool.
Glossary of terms often found on the pages of this site
This page will be updated often.
Algorithm: an algorithm is a general rule set (finite) that is used to solve a particular problem. An algorithm is best when it solves one problem and it does so efficiently, using the smallest number of instructions required to perform its task.
Arduino: [taken from the site] Arduino is an open-source electronics prototyping platform based on flexible, easy-to-use hardware and software. It’s intended for artists, designers, hobbyists, and anyone interested in creating interactive objects or environments.
bend: an adjustment made to an existing circuit that alters it in a way audibly perceptible (and awesome.) or that causes functional change (flow of charge, etc.) [WARNING] NEVER attempt to bend an instrument that is plugged into the wall: AC + metal + you = death.
distortion: distortion may be defined many ways depending on the signal that is being distorted. Very generally, distortion is the addition of noise to a signal. Here, noise is defined as anything that is not part of the signal when running under standard conditions. In other words, distortion occurs when something causes some part of the signal (amplitude, voltage, etc.) to exceed the ability of the conductive medium (component parts, amplifier, speaker) to represent the signal accurately.
hardware hacking/HH/circuit bending: using any means to modify an existing electronic product to create new functionality, either in the motor/physical or sonic domains.
LED: a light emitting diode. LEDs are in just about every piece of electronics. Mostly used to let you know if your electronic device is on, they can also be useful for testing circuits.
lick-n-stick: to wet one’s finger with ones saliva (!) and apply it to the circuit in an effort to sniff out bends. Very useful when attempting to locate the timing circuit; when pitch goes up, you’re on the right track. [WARNING] as noted ALL OVER the internet and in books, one should never attempt to bend a toy that is plugged into the wall! AC = death, esp. when you are touching it with your spitty finger.
potentiometer: a variable resistor with a third adjustable terminal. The potential at the third terminal can be adjusted to give any fraction of the potential across the ends of the resistor.
resistor: A resistor is a two-terminal electronic component that produces a voltage across its terminals that is proportional to the electric current passing through it in accordance with Ohm’s law: V = IR
sniff out: to look for bends.
SuperCollider: SuperCollider is an audio/visual programming language. [BIAS] It is vastly superior to all other audio synthesis languages ever written.
Could you look into your crystal ball and tell us what we can expect in this field during the next decade?
One thing we can certainly expect is that computer instruments will become very cheap, very cheap compared to conventional instruments. As a result, I think we’re going to see a lot of these instruments in people’s homes, used perhaps by amateur musicians much like those who use electric organs today. That market, I’m almost positive, will boom. Another likely market that I think will be exploited will be the popular musicians, in particular the rock musicians. They are already heavily into electronics, and adding computers will simplify their lives rather than complicating them. It will also make it possible for them to use more performance-oriented electronics, since the present synthesizers are actually rather difficult to play in performance. Then the last group of musicians who will take the thing up, if they take it up at all, will be the classical musicians. They’re a conservative group, and they take up new technologies very slowly.
