Thursday, 29 August 2013

COMM2427 - AT1b - New workflow ideas/Patch Development - the [peek~] // [poke~] // [index~] // [record~] dilemma.

Coll Slices Dump > Record to Buffer?

Thus far I've had difficulty working out how to implement the data from the [rm.slice] external on the sample buffer [buffer samp]. I've saved it into a coll named [coll slices] that indexes the start and end points of each slice in milliseconds with floating point values for extra accuracy.



the [peek~] // [poke~] // [index~] // [record~] dilemma.

MSP has several methods to write to a buffer. Chosing which to use has been the most significant roadblock in this patch. By trialing each method and ultimately discarding [poke~], [index~] & [record~] my understanding of MSP expanded dramatically.

Unlike [poke~] and [index~], [peek~] uses values/indices to write to a buffer but is able to operate without DSP turned on (a prerequisite of my initial concept)

Use peek~ to read and write sample values to a named buffer~. Unlike related objects index~ and poke~, values and indices are specified as Max messages, and the object will function even when the audio is not turned on.
I discovered a roadblock in working out how to use [peek~] to:

a) read from the primary buffer (samp)
b) write to dynamically named sequential buffers effectively.


I discovered this on the c74 forum:
> So far I am using Buffer~ and info~ to get the info on how long each
> new file should be, but i am not sure where to go next. Should I use
> peek~ or poke~ or index~…..
Just make a 2nd buffer with the length of one slice, then use uzi with
your “samples per slice” and peek~ to read the samples from the cutup
buffer into another peek~ to set the samples to the slice buffer. Then
save the slice buffer. Wrap a counter arround this somehow that
increments an offset for the first peek~ and the filename. You can also
check out bufcopy~ from Bill Orcut, also I think Eric Lyons just
released MSP Potpourri has an object for copying parts of a buffer,
forgot the name though. These might be faster than peek and uzi.

I wanted to avoid using any further externals for this project to grow more familiar with the native objects. 

Whilst on the forum looking for ways to manage tasks involving numerous buffers I discovered the native [polybuffer~] object
polybuffer~ lets you operate with a group of buffer~ objects. Each buffer~ will be named after polybuffer~ first argument and an index (aka for a polybuffer~ toto object, each buffer~ will be named toto.N where N is the index).


This is my (very messy dev. version) [p peek] subpatch that takes the indices from the [coll slices] table and sends them to the first [peek~] object to read, then writes them sequentially to dynamically named buffers indexed within the polybuffer [polybuffer cuts.*] 



And here is a cleaner version with annotations explaining the dataflow:

Cleaned up [p peek] subpatch with annotations




VART3456 - Ideas & Process Federation Bells Visit Notes


Written down during presentation:

Bells piece - recursive sequences (ala bucephalus?)

begin with 1 bell retriggering recursively 
then 2, 3
in time the. alternating times (only works with high notes)
sustains/drones via repeated low velocity notes

*need to check maximum ring times per second
*see if there are any relationships inherent in these already
*compose numerically? assign unique bell number to sequence

also highest small bells playing faster independent melody in series while lower bells play slower independant melody /polyrhythm meeting in sections

lowest note not gcompelling use sparingly

launchpad??
osc > accelerometer to tempo??


Friday, 23 August 2013

Audio Technology 1b - Patch Dev Notes

From: http://cycling74.com/forums/topic/sync-buffer-recording-to-zero-cross/

"I’m trying to record real-time audio into a buffer starting at a zero cross. I’m using a zerox~ and edge~ to trigger the record~ but the buffer contents never sync up. I’m must be doing something silly."


"The problem you are having is because you are using edge~ which converts your click from zerox~ to a bang causing you to leave the signal domain making you lose sample-rate accuracy.
Depending on how you will use this, it might be easier just to recording into a buffer, then use peek~ to search for the first zero crossing, then that sample location as your start point for playback.
I know it isn’t exactly the same as what you are looking for, but check out this thread: http://cycling74.com/forums/topic.php?id=36023
If you look in the help file for the mxj I posted to that thread, you will see a subpatcher that shows the algorithm for that mxj implemented in Max.
More to the point of your question, here is an example of how to trigger recording from a zerocrossing with sample accuracy. It might look a little strange, but works."


Thursday, 22 August 2013

VART3456: James Tenney & Ben Byrne

Genuinely fascinating class today.

It was great to hear the perspective of first speaker (I didn't catch his name) someone actively working with music practically and algorithmically. The amount of technical information specifically relating to music, not technology, that went over my head was a stark reminder that to work algorithmically with music meaningfully one must have a clear knowledge of classical music conventions, and not just a lateral mindset creatively and a proficiency for technology.



The Tenney piece looked brilliant laid out in MIDI notes, though when played was not terribly compelling. Though after explanation of its relevance and some elaboration on the mechanics of its construction the piece took on greater meaning.

Important notes: It was refreshing - as always - to hear from those working in the complex and abstracted realms that simplicity is the vital element of significance. This was evidenced mainly by the structure of the patch - notatating the midi from the piece simply from a handful of lines of concise code. This theme was also referenced by the speaker in relation to the macro of the Tenney piece in general. This piece, though seeming complex is just the elaboration of a very simple, neat and ordered idea - which despite (for all intents and purposes) predating the explosion of computer music, is purely an algorithm (evidenced in the aforementioned code)

Mathematical relationships of intervals, keys, harmonic relationships and a deeper understanding of the foundations of rhythmic theory are all weaknesses in my practical knowledge I should seek to grasp before undertaking projects of any great relevance.

Further reading:
http://www.tandfonline.com/doi/pdf/10.1080/07494460701671558
http://www.jstor.org/discover/10.1525/mts.2012.34.2.48?uid=33336&uid=3737536
http://www.robertwannamaker.com/writings/rwannamaker_north_american_spectralism.pdf


Ben Byrne was great to listen to. It was very easy to relate to his experience, his creative approach and the greater narrative of his work. Specifically, his focus on giving everyday technology not considered to be musical a musical context. Due to this, his sound palette was very similar to my own - though I found the pieces we heard undeveloped and far less compelling than I had expected. This came into context when he explained that much of his work is a reaction to both the conventional linear narrative of sound and the expansive palette of contemporary sound artists. I find a restrictive palette to be conducive to the former, therefore without a deeper relationship to his process I did not find these pieces to be as engaging.

The Max5 patch he demonstrated supported the themes of the significance of simplicity in the earlier talk. A very convoluted and visually dense patch that did very little of significance.

This is not to say his work is not significant, far from it. The work of Ben Byrne has a deeper relevance in the domain of communication and the psychology of perception - the reductive, technical, mathematical approach of Tenney and the earlier speaker have only deeper relevance in the articulation of harmonic and rhythmic structure, physics and the fundamentals of sound from a musical context and beyond to the macro - but does little in terms of yielding insight into our psychological relationship to it.

http://www.avantwhatever.com/

Wednesday, 21 August 2013

VART 3456 - Quick responses to varied pieces.

What do you think is the compositional intention?
1. Dischord, timing issues, off key
2. Rave
3. Emote, discomfort
4. Discord, Confrontation
5. Emote, harmonic discord
6. Disco ballad

Is this compositional intention successfully realised?
1. Perhaps
2. Sure
3. Yes
4. Yes
5. Sure
6. Sure

What cristicisms do you have about the work aesthetically, conceptually etc?
1. Bum notes
2. Fkn modular s/h dripping noise
3. None
4. None
5. None
6. Needle used to rip it from the wax. needs more mids

What is your favorite thing about the work?
1. Vocal
2. Pads
3. Elicits Intrigue
4. It's fkn Whitehouse
5. Matmos? Mum?
6. Drums, vocal harmony

What style or genre is the work?
1. Vocal ballad
2. Early 90's Breakbeat
3. Conceptual
4. Noise
5. Ballad
6. Disco soul ballad

Can you describe or identify the form of the work?

Can you identify the instrumentation?
1. Violin / Cello + Vocals
2. 808, Modular rig, Sampler
3. Piano
4. Timestretching, Digital noise, Sampler
5. Guitar, Whistling, Organ/Mellotron
6. Drum kit, Bongos, Guitar, Vocal

What sort of global and historical context would you put the work in (time / place) ?
1. 60's
2. 90's
3. Post 80's
4. 90's+
5. 70s?
6. 70s

How would you connect this work to the work previously played?
1. None
2. Sampled perhaps
3. Similar juxtaposition
4. Similar juxtaposition
5. Similar juxtaposition
6. Not so much.

Friday, 16 August 2013

COMM2427 - Audio Technology 1b

Max/Msp project: long sample autoslicer, dump oneshots to folder.


Proposed workflow:


  • Load sample into buffer
  • Scan amplitude of waveform
  • Start record at zero crossing
  • Stop record at next zero crossing
  • Assign unique number to filename (output [$1+1]).wav
  • Dump recording into folder
  • Start record at zero crossing
  • Stop record at next zero crossing
  • Assign unique number to filename (output [$1+1]).wav
  • Dump recording into folder
  • Till EOF

Wednesday, 14 August 2013

VART3456 - Text / Visual Task [Creative Writing Task]


Text / Visual Task (15%)

Students are required to compose an audio response to a set text or film (most likely provided by students of the RMIT screenwriting department).  The students should consider the conceptual and artistic intentions behind the original work (as discussed with the screenwriting students), and compose a sound work that incorporates the original artwork without any alteration. It is also suggested that students draw on past discussions and explorations of synesthaesia, synchresis, narrative and form when composing the work.
CRITERIA:
- considered incorporation of original work and its inspiration.
- creative and innovative engagement with cross-media discipline.



Sunday, 11 August 2013

VART3456 - Ideas & Process Week 3 [Federation Bell Task Notes]




Organ Task / Federation Bells Task (30%)


Students are required to compose a piece (between 5 and 15 minutes) for either the Melbourne Town Hall Organ or the Federation Bells. This piece must incorporate MIDI playback, and may also include live playback (organ only), electronics, live processing, auxiliary instruments, visuals, movement.  The task is an opportunity for students to work with a rare and unusual instrument, and to explore sonic possibilities and acoustic properties within each instrument. It is encouraged for students to be as creative and innovative with their compositional approach as possible.


Criteria:
Clarity of compositional idea.
Originality / innovation of compositional approach or realisation.
Cohesion of work.


Opted to use the Bells for this task, particularly to explore spatialisation. 










Friday, 9 August 2013

VART3456 Ideas and Process Week 3

Readings:

STYLE AND REPRESENTATION OF HISTORICAL TIME / GEORGE KUBLER



This text is speaks volumes and says very little. Perhaps the language barrier can account for some of the odd phrasing and poorly articulated points. When some of these points were made I found myself saying, "well, no shit."

Everything about a work of art is contrived to force us to perceive it as a unique object occupying one place and having unusually integral properties of material, technique, form and significance. Our habit of meeting it in a museum or on a stage or in a concert hall, where it bids for our attention with the illusion that it is a single point in space, time, and feeling, further masks the historical reality of every work of art. That reality is totally different from the illusion of uniqueness.

Such a convoluted approach to discussing the metaphysics and historical context of artwork.

I usually enjoy deciphering the idiosyncrasies inherent in texts like this, but I found this aggravatingly    obtuse.



It's hard to be compelled by the profound cultural impact of what is essentially the author's nostalgia. 

An autobiographical account of the chronology of synthpop, serving more as a means to recount anecdotes 
from the author's youth than any great insight into a particular genre.

The article wanders through markedly prosaic lyrics, explaining how they fit into the canon of her highschool 
record collection in search of evidence beyond the circumstantial to support the hyperbolic claim at the top of 
the article.

To be fair, selling the period following the catalytic introduction of the keyboard to western pop-music as the 
single most culturally relevant era of profound artistic expression in the 20th Century is a fairly impossible feat. 



Saturday, 3 August 2013

VART3456 Ideas and Process Week 2 - [Variation Task]

Variation Task:

Each student is to compose a 1-minute piece of music (no longer, no shorter) within the space of a week. The piece can take any form, but must avoid repetition of any kind (this means no repeated melodic lines, motives, sound objects, chord progressions or ostinati).

Criteria:
Successful completion of task and precise duration.
Engaging use of varied material within a short form.


DOWNLOAD: VARIATION TASK WAV 






Readings:

Morton Feldman by Paul Griffiths

Poor Morton was trying to compose algorithmically without a computer! Well, so it appears. This line in particular struck a chord with me, " His lack of an ideology had relegated him to the second rank in the ideological 1950s, when even Cage had had an ideology: the ideology of having no ideology. Also, as a big man, and a man of humour, he perhaps fitted too well the role of comfortable clown."

The Auditive Memory and its function in the late works of Morton Feldman

"By employing such devices in his compositional methods and by making disorientation one of his main concerns, Feldman intentionally confuses our 'living memory', our sense of auditory retention and protention."

My most engaging moments of composing, sound designing or even listening in general have always been in the immersion of near discord, chaotic polyrhythms and long melodic phrases moving in and out of sync. From my experience, there is an inversely proportional dichotomy of those who are immersed best in reductive monotonous rhythm or timbre, and those who achieve that same immersion from the inverse. I can relate to Feldman's "Disorientation" approach, though pieces like 

"Crippled Symmetry"have the opposite effect on me. I find myself fixated on every sound counting the

Silence between each.



The hell described in Retrograde Amnesia doubles as an analogy for patternless music/sound/noise. The mind requires pattern, repetition of some kind, retained in the immediate or stored memory to make sense of input. Without this, the mind cannot engage and begins again anew, each fragment of time disconnected from the last. Sometimes the mind projects a perceived pattern onto noise in order to engage with it. True noise cannot contain such patterns.