Friday, May 30, 2008
amc
hey guys. if you get a chance you should check out amc. they do really simple remixes for their commercials and there's one that's been on this week for Troy.
Thursday, May 29, 2008
IX SOftware
Everyone, please download and install something from the IX software group.
xi audio is an experimental project concerned with the creation of digital musical instruments and environments for generative music. We are interested in the computer as a workshop for building non-conventional tools for musicians, i.e. not trying to imitate or copy the tools that we know from the world of acoustic instruments or studio technology. We currently work with open source software such as SuperCollider, ChucK and Pure Data, but our aim is to distribute our applications packaged in a way that allows everybody to use them. Simplicity and ease of use together with depth in interaction and expressive scope is the aim of our experimental music software.
We are interested in free and open music software in all senses. Free as in "free beer", free as in "free speech" and free as in "free jazz". The last "freedom" being the most important one. We acknowledge the constraints that software puts on the musician, the limits that the tool sets for the creative process and we therefore promote and try to disseminate technologies that open up the limits of software (or define new boundaries). We think it should be the artist that defines the scope of his or her instrument (and therefore music), not a commercial software company.
Our belief is that controlling musical structures graphically in screen-based instruments such as the ixi software, can be helpful and inspiring for the musician. We try to build "non-musical" interfaces, i.e. controllers that do not contain musical concepts from any tradition or cultureis can be liberating and open up for new directions. Visualising musical patterns is one of the main ideas here, but in a way that is open and not predefining the music. Intelligent interfaces is also one of our aims and we'd like to see instruments that understand and interact with the musician.
As part of our activities we have been giving workshops at universities and art institutions where we go into the problem of audio-visual programming and musical software. We are interested in instruments and tools, i.e. the environments we can create to use in our expressive work. Our workshops extend from 1 to 5 days, where we go into audio programming on the open source platforms Pure Data, SuperCollider and ChucK, visual programming platforms such as Python, Processing/Java, Director and Flash, and then OSC (Open Sound Control) for communicating between the audio and graphical environments. We also introduce concepts of analog to digital conversion by using hardware interfaces that take voltage signals from sensors and map them to digital information that become music or graphics. Questions regarding interactive music, generative music, algorithmic art and installations are dealt with and explored. The workshops have different emphasis depending on the situation, they can be highly technical, musical, theoretical or art based all according to the wishes and interests of the participants.
We provide the applications on this website as they are - there might be some bugs, some problems or inconsistencies - we try to code them properly, but we're not a company with customer support, we're a group of people that enjoy making music and artistic software and giving them for others to use as well.
So download the programs, test them out, use them, distribute them, crack them and do whatever you want except sell them. If you would like to participate in our mailing list which is a general list about interactive music and musical software, but with particular twist around ixi-software, then please subscribe.
This is another extremely powerful resource. Make some music with ix!
Patrick
xi audio is an experimental project concerned with the creation of digital musical instruments and environments for generative music. We are interested in the computer as a workshop for building non-conventional tools for musicians, i.e. not trying to imitate or copy the tools that we know from the world of acoustic instruments or studio technology. We currently work with open source software such as SuperCollider, ChucK and Pure Data, but our aim is to distribute our applications packaged in a way that allows everybody to use them. Simplicity and ease of use together with depth in interaction and expressive scope is the aim of our experimental music software.
We are interested in free and open music software in all senses. Free as in "free beer", free as in "free speech" and free as in "free jazz". The last "freedom" being the most important one. We acknowledge the constraints that software puts on the musician, the limits that the tool sets for the creative process and we therefore promote and try to disseminate technologies that open up the limits of software (or define new boundaries). We think it should be the artist that defines the scope of his or her instrument (and therefore music), not a commercial software company.
Our belief is that controlling musical structures graphically in screen-based instruments such as the ixi software, can be helpful and inspiring for the musician. We try to build "non-musical" interfaces, i.e. controllers that do not contain musical concepts from any tradition or cultureis can be liberating and open up for new directions. Visualising musical patterns is one of the main ideas here, but in a way that is open and not predefining the music. Intelligent interfaces is also one of our aims and we'd like to see instruments that understand and interact with the musician.
As part of our activities we have been giving workshops at universities and art institutions where we go into the problem of audio-visual programming and musical software. We are interested in instruments and tools, i.e. the environments we can create to use in our expressive work. Our workshops extend from 1 to 5 days, where we go into audio programming on the open source platforms Pure Data, SuperCollider and ChucK, visual programming platforms such as Python, Processing/Java, Director and Flash, and then OSC (Open Sound Control) for communicating between the audio and graphical environments. We also introduce concepts of analog to digital conversion by using hardware interfaces that take voltage signals from sensors and map them to digital information that become music or graphics. Questions regarding interactive music, generative music, algorithmic art and installations are dealt with and explored. The workshops have different emphasis depending on the situation, they can be highly technical, musical, theoretical or art based all according to the wishes and interests of the participants.
We provide the applications on this website as they are - there might be some bugs, some problems or inconsistencies - we try to code them properly, but we're not a company with customer support, we're a group of people that enjoy making music and artistic software and giving them for others to use as well.
So download the programs, test them out, use them, distribute them, crack them and do whatever you want except sell them. If you would like to participate in our mailing list which is a general list about interactive music and musical software, but with particular twist around ixi-software, then please subscribe.
This is another extremely powerful resource. Make some music with ix!
Patrick
Wednesday, May 28, 2008
Wednesday, May 21, 2008
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Monday, May 19, 2008
Moog for the Camera
Besides all the the nifty techno geeky things listed, Robert Moog's bio points to the interesting and vexing problem of an inventor/creator losing rights to use his name on products. This problem gets solved, in some senses, because Moog goes to work for Big Briar and they, after a legal battle, acquire the rights to the name Moog Music. It is not an uncommon problem for inventors to get locked out of using their names (both their given name and names they've given an idea).
The moogerfooger where interesting to explore, initially because of the name. The fabulous thing about digital is that while moogerfoogers are analog effects pedals, plugins were developed that simulated the effect of the pedals.
MIDI Maze
The MIDI article on Wikipedia was quite informative. What really caught my eye was that MIDI can be used across Ethernet connections and that it was used in video games. MIDI Maze was such a game. It was released in 1987 on the PC, and was a first-person shooter that allowed multiple players to be networked through MIDI protocol. All of the players were conceptualized on-screen as colored smiley-face balls that navigated through a simple 3D maze. The game was later released on the GameBoy, Game Gear, the SNES, and as a shockwave game. I found the SNES (appropriately named 'Faceball') version on eBay for $0.99! :)
Sunday, May 18, 2008
Stockhausen
Karlheinz Stockhausen was an incredibly influential composer/music theorist. He was heavily involved in the analysis of sound and the way music is perceived. I was most interested in his idea of Spatialization and his work in the 1970 world fair. Stockhausen made the first spherical concert hall where he really used the idea of surrounding with sound , making sound come from any possible direction. http://www.stockhausen.org/osaka.html
Saturday, May 17, 2008
Karl Heinz Stockhausen
Karl Heinz Stockhausen was a German composer. One of the most influential composers of the twentieth and early twenty-first centuries, he remains also one of the most controversial. He dabbled in electronic music, musical spatialization, and serial composition. He studied at the Hochschule fur Musik Koln and the University of Cologne, and later at the University of Bonn. His compositions and theories remain widely influential. He died of a heart attack at the age of 79, in late 2007.
Thursday, May 15, 2008
moog the theremin king
Robert Moog was an electronic composer and designed the moog synthesizer, the moogerfooger (an effects pedal with an excellent name), minimoog synthesizer, plugins for protools. Pretty cool that he started his first company when he was 19 and it sold theremin kits(!!!). He starred in two films-One about theremins, one about him and died of a brain tumor.
Wednesday, May 14, 2008
download jsyn for katherine and hw for the rest of us just in case someone wasnt paying attention
1. download the plugin here > http://www.softsynth.com/jsyn/plugins/
then go and look around at some examples (there's a button at the bottom of the page when the install is done.)
2. finish a 17 element harmonic series in pd
3. record 2 minutes of the randomized harmonic tones from pure data in audacity. then
a. fade in
b. fade out
c. put in an effect of your choice
d. mix in the previously edited sound file
e. edit: adding silence, reversing the clip, speeding it up, etc.
f. title: assignment2_yourlastname_thedate and either save it as a .aup or export as a .wav
then go and look around at some examples (there's a button at the bottom of the page when the install is done.)
2. finish a 17 element harmonic series in pd
3. record 2 minutes of the randomized harmonic tones from pure data in audacity. then
a. fade in
b. fade out
c. put in an effect of your choice
d. mix in the previously edited sound file
e. edit: adding silence, reversing the clip, speeding it up, etc.
f. title: assignment2_yourlastname_thedate and either save it as a .aup or export as a .wav
Tapping the Wire Tapper
A Hawk from a Handsaw by Gary Lucas and Josef Van Wissem on The Wire Tapper 12 uses a variety of string instruments played at different rhythms to create a slightly frentic sound. The song speeds up as it goes and the rhythms get more complex and jarring. The sounds vary from high pitched twangs to lower strums. The rhythms get skewed at different points in the song, but it never becomes completely off. There is a kernal that keeps the song focused, a point that the top spins on most of the time, it wobbles and shifts but it spins back to center. It is not a soothing song, but it still is coherent. This falls right in line with the reference the title is making. The title is from a scene in Hamlet when Hamlet is pretending to be crazy but shows Rosencranz and Guildenstern that is may not be as crazy as he seems.
Wire Tapper Track
I listened to "Mosquito (Excerpt)" by The Necks from The Wire Tapper 12, Disc 1. Its tempo is driven by a ticking, clock-like sound at the beginning and eases toward the end with gentle, regular cymbal taps. Ever-present are discordant sounds, layered on top of measured piano notes. I like it because it seems like how these people imagined a mosquito translated into music would be. At first is the relative frenzy and nervousness of being without a meal, and avoiding obstacles on your way to "food." In the middle of the track, I imagine the mosquito has found a meal and the track seems to take on a heart-beat-like pulse. Then there is the relaxation of being sated.
Tuesday, May 13, 2008
Responce
I listened to 1-800-Skauen by Wibutee on the wire tapper 11. I thought that it was an interesting mix of analog input and digital elements. it sounded to me like a jam session with a digital drum machine and occasionally repeated sections and echoes. at 2:20 the rhythm breaks in the drums and resolves at 2:40 the whole time it keeps a sense of the original rhythm. very smooth feeling and neat song.
tide by matthew dear
This is from Wire Tapper 11.
There was a continuous background beat that carried a nice energy through the song. The vocalist was speaking more than singing so the music is what really made the song. However, without the vocal it would have been a lot less interesting to me, as it's mostly a loop. I found the songs I liked more were those with vocals.
There was a continuous background beat that carried a nice energy through the song. The vocalist was speaking more than singing so the music is what really made the song. However, without the vocal it would have been a lot less interesting to me, as it's mostly a loop. I found the songs I liked more were those with vocals.
Wire Tapper Response
I listened to Milky Globe's "The Warp and the Wolf." It was very cool to listen to. A lot of the sounds sounded similar to the ones Pat showed us today. The different noises were nicely contrasted to one another and it was relaxing to listen to.
Wire Tapper Response
I listened to The Harmless Dust by David Grubbs and Nikos Veliotis. It was pretty cool, not a type of thing I would listen to normally, but I could see slapping it behind a dramatic scene. It seemed to play with some of the same ideas we worked with today of putting tones on top of one another. It almost reminded me of what Pat had playing for us when we came in. The droning effect is kind of soothing actually. Not quite numbing, but I could see how the track could clear someone's head and help them calm down. Actually, Requiem for a Dream popped into my head. After everything goes to hell in the movie, in order to neutralize the audience, which is usually falling to pieces at the end of this film, this track could both emphasize the film and clear the head to move into something else. Okay, I'm rambling now. Enjoy your own selections.
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#X text 78 527 rejection of the stop bands without having;
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Intro
Hey, my name is Brian Dowling, and I'm going to be a senior BFA acting student. Most of my experience is in the performance side of theater, but I also have a working knowledge of most of the technical areas as well - with the exception of digital design. Hopefully I'll remedy that by the end of the semester.
I, otherwise known as Sheila Bishop, am a performer, writer, director, producer, teacher, facilitator, non-profit maven, jill of all trades, art freak diva. My background before entering the MFA in Digital Media Arts was performance/theater. Most of my work is too freaky to be considered "normal" theater, but too theatrical to be considered performance art (meaning I like words too much). I have done a number of experimental sound pieces (rough and new at sound work), and most of my video work (still new at video) emphasizes sound. I am most interested in using the human voice and captured sounds in my pieces.
Monday, May 12, 2008
hello
my name is lauren. i'll be a digital media senior(in the fall) and i'm double majoring with art education. i don't have much experience with sound generation. my boyfriend is an electroacoustic composer so i've picked up a few things(very few). i'm primarily interested in learning about how i can make my own sound, because i have no experience with it and i'd like to keep my professional options open. some things i'm super interested in are:
1. Synesthesia relating to sound and color/image. i'm fascinated by the naming of certain static sounds as white noice, brown noise, etc.
2. Interactive sound: based on a sensorized space, theremins, whatever. even extending to inputing accumulated data to create sounds.
1. Synesthesia relating to sound and color/image. i'm fascinated by the naming of certain static sounds as white noice, brown noise, etc.
2. Interactive sound: based on a sensorized space, theremins, whatever. even extending to inputing accumulated data to create sounds.
Introduction
Hello, my name is Mandi and I'm a senior majoring in Journalism and minoring in Theatre. I have no experience in sound design, but I am eager to learn the different programs and gain a basic knowledge in sound design.
CLASS #1 [part2] : PURE DATA INSTALL
Please download and install PURE DATA.
http://puredata.info/downloads
pick the right one for your laptop.
note the different builds for macs
i will unpack digital culture and sound design with pure data and use this program to provide you with valuable open source tools as we discussed in class.
Pure data is and extremely powerful design tool and of course completely cost free.
Miller's book http://crca.ucsd.edu/~msp/techniques.htm
CLASS # 1
Everyone please bring laptops!
Everyone please install Audacity Music Editor
http://audacity.sourceforge.net/
Get the newest version 1.3 whatever for your O/S
Bookmark the Page as we will return there for the ladspa plugins i mentioned
You will want these.
for windows:
http://sourceforge.net/project/downloading.php?group_id=6235&filename=LADSPA_plugins-win-0.4.15.exe
OS X
http://ardour.org/files/releases/swh-plugins-0.4.15.dmg
LADSPA Plug-Ins
LADSPA is an acronym for Linux Audio Developers Simple Plugin API. It is a standard for handling filters and effects, licensed under the GNU LGPL. It was originally designed for Linux through consensus on the Linux Audio Developers Mailing List, but works on a variety of other platforms. It is used in many free audio software projects and there is a wide range of LADSPA plugins available.
LADSPA exists primarily as a header file written in the C programming language.
There are many audio plugin standards and most major modern software synthesizers and sound editors support a variety. The best known standard is probably Steinberg Cubase's Virtual Studio Technology. LADSPA is unusual in that it attempts to provide only the "Greatest Common Divisor" of other standards. This means that its scope is limited, but it is simple and plugins written using it are easy to embed in many other programs. The standard has changed very little with time, so compatibility problems are rare.
SO we are 'modualarly extending' our free environment for sound programming.
REMINDER: login and look around at freesound project.
Everyone please install Audacity Music Editor
http://audacity.sourceforge.net/
Get the newest version 1.3 whatever for your O/S
Bookmark the Page as we will return there for the ladspa plugins i mentioned
You will want these.
for windows:
http://sourceforge.net/project/downloading.php?group_id=6235&filename=LADSPA_plugins-win-0.4.15.exe
OS X
http://ardour.org/files/releases/swh-plugins-0.4.15.dmg
LADSPA Plug-Ins
LADSPA is an acronym for Linux Audio Developers Simple Plugin API. It is a standard for handling filters and effects, licensed under the GNU LGPL. It was originally designed for Linux through consensus on the Linux Audio Developers Mailing List, but works on a variety of other platforms. It is used in many free audio software projects and there is a wide range of LADSPA plugins available.
LADSPA exists primarily as a header file written in the C programming language.
There are many audio plugin standards and most major modern software synthesizers and sound editors support a variety. The best known standard is probably Steinberg Cubase's Virtual Studio Technology. LADSPA is unusual in that it attempts to provide only the "Greatest Common Divisor" of other standards. This means that its scope is limited, but it is simple and plugins written using it are easy to embed in many other programs. The standard has changed very little with time, so compatibility problems are rare.
SO we are 'modualarly extending' our free environment for sound programming.
REMINDER: login and look around at freesound project.
Introduction
I am Ben and I have very little to no sound editing experience which is why I am taking this course. I am excited to start learning about the process and work with it right away. I have a rudimentary knowledge of music theory and I am somewhat competent with computers.
8-bit Band Crystal Castles Abuses Creative Commons License, Illegally Appropriates Artist's Work
I read about this over the weekend and thought it would be pretty relevant, especially since we'll be working with sounds that are part of the Creative Commons (although we won't be doing anything commercial).
Crystal Castles is an '8-bit' band; they're apparently pretty popular (they're the opening act for Nine Inch Nails). In numerous songs they have used other musical artists' work directly or only slightly modified it, never attributing their sources. They have also been printing t-shirts with an image by a visual artist who never gave the band consent to use it.
Here's an article at Create Digital Music
Visual artist Trevor Brown's blog, addressing the issue of the t-shirts. His blog is kosher, but please bear in mind that Brown makes art that generally you wouldn't want to browse from work.
The original place I found out about this was on the forums of the website Something Awful - Original Post
Found it interesting that now that they're famous they're drawing a lot of heat. Any thoughts on this?
Crystal Castles is an '8-bit' band; they're apparently pretty popular (they're the opening act for Nine Inch Nails). In numerous songs they have used other musical artists' work directly or only slightly modified it, never attributing their sources. They have also been printing t-shirts with an image by a visual artist who never gave the band consent to use it.
Here's an article at Create Digital Music
Visual artist Trevor Brown's blog, addressing the issue of the t-shirts. His blog is kosher, but please bear in mind that Brown makes art that generally you wouldn't want to browse from work.
The original place I found out about this was on the forums of the website Something Awful - Original Post
Found it interesting that now that they're famous they're drawing a lot of heat. Any thoughts on this?
Introduction
Hi everyone. For those who don't know me, my name is Katherine and I'm a Digital Media undergraduate right now. I'll be graduating at the end of the Summer C term and moving off to Alabama. I'm not very experienced at all in sound, but I've had a few video/time-based courses and always was a little frustrated by my lack of skill with sound. Sound can be truly transformative. I want to learn how to sculpt and apply sound for my own purposes, which would most likely be video or web projects. I'm also interested in Supercollider.
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