My research project centred around a sound installation that I created using my real-time granular synthesis program Granular Genesis.
Here is the associated documentation.
Research project essay - "Exploring Real-Time Recursive Granulation"
Essay bibliography
Installation program note
Installation promotional flyer
Installation instructions
Research project progess report
Recording of installation
MaxMSP patch
Finally fixed the template, turns out Ripway.com (where my pictures are stored) was incorrectly registering download bandwidth and maxing out my limit every day. I sent an email to ripway support and within an hour they had fixed the problem. Not bad for a free service!
Today the remainder of the 3rd Year students presented to the Music Technology horde. I was first, presenting my failed MaxMSP patch from Semester 1 2007, Fantastical Metal. The patch seemed to work well (in it's own way), but I would have liked to present my SuperCollider patch from last semester so as to round off a 'My Failures' theme.
Luke's SuperCollider patch was aesthetically pleasing to listen to, especially the combined organ sounds. The end was a little abrupt, and I think it may benefit from a nice thumpy kick drum throughout the piece.
Will presented his Max patch from last year, which we didn't really get to listen to. His environment sounds for a video game were well done, however they seemed to pale in comparison to the Half-Life 2 SFX.
Dave's patch obviously took a lot of effort to create, and the inclusion of drum beats and random samples helped to 'keep it from being boring'. I like the idea that the patch sounds fairly different each time it is run.
Last was Jake, who played us his SuperCollider patch from last semester. This was a 5.1 channel industrial ambient piece, and was certainly intense and very enjoyable. Jake obviously has a good understanding of the 5.1 sound field, with a 'spawning' effect perceivable throughout.
David "Dirty Harry" Harris was back in the driver's seat this week, and steered the bumbling cohort of disenchanted musicians (also known as Mus-Tech Students) towards the insanity of David Lynch. I have seen very little of David Lynch's films, but apparently Eraserhead was a good place to start. Well, so I was told, however I found myself developing a rather shocking headache throughout the movie. I know it's kind-of the point, but I found all of the scenes in which the conversations travel at snail's pace so incredibly, incredibly boring. Silence is only funny for so long, then it just gets old.
From a sound-design aspect, the film was very interesting, but the tedium of the on-screen action (using the term loosely), particularly in the first half hour, was often too overwhelming to maintain my interest in any aspect of the film.
David Harris. "Music Technology Forum - Semester 2, Week 8 - My Favourite Things III." Lecture presented at the Electronic Music Unit, University of Adelaide, South Australia, 18/09/2008.
This week I had to bail on forum due to an over-active teaching practicum, a disease which I apparently contracted when I first started University. According to other student's blogs, it was student presentations. When I found out what Doug's MaxMSP project last semester was (a chord progression generator), I had a brainwave of what to do for my own presentation - my failed projects. I'll start with my Auto-Piano MaxMSP thingy I made semester 1 last year, then finish off with my craptabulous Rainforest generator I created last semester in SuperCollusion.
Can't wait!
1. Stephen Whittington. "Music Technology Forum - Week 7 - 2nd and 3rd Year Presentations." Lecture presented at the Electronic Music Unit, University of Adelaide, South Australia, 11/09/2008.
This week we presented the work that we had done thus far on our Film Sound project. I was the only one who didn't have something synced to the movie already, mainly because I didn't realise we needed to this early on. I played the musical ideas I have had on the piano, and informed the class of my plans to make the music sound as old as the film, meaning bad quality and inconsistencies. To be honest I believe this will be more difficult than just recording straight piano, as I am having to record to an aesthetic. The new Zoom portable recorders will no doubt come in handy when sourcing an old piano.
John and Dave are taking a more traditional approach to the sound design, using symphonic instruments and/or pounding bass-driven beats. Jake's approach is quite compelling, using mostly ambient sounds interspersed with pulsing rhythms. Luke has approached the project with a theme of 'aggravation', whereby the audience is made to feel uncomfortable at convenient parts of the film. I really hope this works out, as I would love the see (and feel) the results.
Luke Harrald. "Audio Arts 3: Semester 2, Week 6. Student Presentations." Lecture presented at the Electronic Music Unit, University of Adelaide, South Australia, 2/09/2008.
