CC1 Week 11

i essentially made some guitar samples, cut out sounds i thought usefull, these sounds were only 3 secs long at the most. Imported them into Live, transposed and "warped" them, added effects to make them more interesting and then recorded it. Very easy and ive come to realise that its just way to easy to do this. In the past you would have had to record this to tape and slice and duplicate, it would've taken days to do wat i did in less than an hour. TOTALLY REDICULOUS!!!

The mp3 is in the BOX widget at the top of the page.

References:

Haines, Christian. Lecture 18/10/07 "Intergrated Setup." Adelaide University.


Beaulieu, Sebastien; Trussart, Vincent; Viens, David 2007, Bidule v0.92 user manual,
Plogue, viewed 11/1 2007, http://www.plogue.com/.

Ableton 2006, Live Digidesign Edition Owner's Manual, Ableton, viewed 11/1 2007,
http://www.ableton.com/

Forum

Ardino exercises.

Forum

AA1 Week 11

Playing with the FFTs was quite a bit of fun, and i can see how they would be able to create some cool sounds, however i would only use to for this, not for real pitch shifting applications, especially with plogue, its real time nature is fantastic for the "cool sounds" domain, but not for natural pitch modification applications. I am prepared to wait a few seconds for extra processing.

The Bidule aspect of FFTs is much easier to play with, treating each process like a guitar effect chain is much more hands on, easier to navigate and to play with and fine tune. However this still feeds into the immediate (real time) "cool sounds" domain, not a naturalistic precision domain.

My mp3 is me just playing around with the different parameters, each mixer channel has a different parameter and one has all mixed together, you can easily guess which one has them all mixed together. A few "cool sounds" were made, but nothing to interesting.

http://h1.ripway.com/loudman/AA%20week%2011/FFTcraziness.bidule

http://h1.ripway.com/loudman/AA%20week%2011/Spectralthingo.mp3

References:

Haines, Christian. Lecture 16/10/07 "FFTs and Plogue." Adelaide University.

CC1 Week 10

Again with ReWiring live with plogue. This time however i actually did use live instead of Project 5. I set up a loop that i created in live. A guitar riff with accompanieing chords.

I mixed both Audio Arts and Creative Computing lectures together. I used ReWire with spectral analysis to create this sound. I may use this in my final performance to create new timbres and to change the key without rerecording the samples again. This is lots of fun and i am totally loving the abilty to control program through Bidule. It makes it so much easier. It is possible that i could use mulitple programs runing through bidule. I could use sample loops in Live, Midi loops in Project 5 and use a sampler instrument in Reason. The Posibilities!!!!!

I was just playing around with the mixer and 1 spectral parameter to create the sounds heard on the mp3.

Here is the mp3
http://h1.ripway.com/loudman/CC1Week10.mp3

References

Haines, Christian. Lecture 10/10/07 "Integrated Setup." Adelaide University.

Beaulieu, Sebastien; Trussart, Vincent; Viens, David 2007, Bidule v0.92 user manual,
Plogue, viewed 11/1 2007, .

Ableton 2006, Live Digidesign Edition Owner's Manual, Ableton, viewed 11/1 2007,
.

AA1 Week 10

I first made a bidule with 5 oscillators in it, and played around with harmonics and other related tones. I played around with the phase offest aswell to create different timbres. Setting up the parameters to play with took the longest. The best thing for this sort of task is to have a MIDI controler for the different parameters, this would be easier and you could explore much more timbres with a physical interface.

From these first 5 oscillators i copied this bidule twice and played with more frequencies and harmonics to create a final hard organ like timbre.

Here is the bidule file
http://h1.ripway.com/loudman/Synthesis.bidule

Here is the mp3
http://h1.ripway.com/loudman/Synthesis.mp3

References:

Haines, Christian. Lecture 9/10/07 "Sound Design." Adelaide University.

p124 - 126. "Spectral Modeling Techniques". Miranda, Eduardo. 1998, Computer Sound
Synthesis for the Electronic Musician, Focal Press.

Reid, Gordon 2000, Synth Secrets - Part 14: An Introduction to Additive Synthesis,
Sound on Sound, viewed 11/2 2006,

CC1 Week 9

This patch was slightly more difficult to understand, it took me a good hour and a half to figure out what was going on with the preferences settings. And it took me a lot of tweaking, it wasn't as easy to set up as originally thought. But once again bidule has surprised me and shown how powerful this piece of software really is.

Instead of using Live i used Cakewalk Project 5, which is a similar sequencing, sampling program that uses ReWire. I had problems using Live with ReWire, plogue wouldn't recognise it as a ReWire application.

In Project 5 I used a bunch of VST instruments with my MIDI keyboard and played some little contrapuntal like melodies with a few different instruments ReWired through a bunch of delays and flange to create the final, psychedelic, trippy sounds.

View the bidule and hear my samples with the Box widget in the top right corner of the screen.

References:

Haines, Christian. Lecture 4/10/07 "Creative Computing." Adelaide University.

Beaulieu, Sebastien; Trussart, Vincent; Viens, David 2007, Bidule v0.92 user manual,
Plogue, viewed 11/1 2007, http://www.plogue.com/.

Ableton 2006, Live Digidesign Edition Owner's Manual, Ableton, viewed 11/1 2007,
http://www.ableton.com/.

AA1 Week 9

I never realized how such a simple concept (used in complex proportions) is used to create all the sounds we hear on synthesisers. This is the bread and butter concepts that I'm very excited about learning. This is certainly something that i will looking into for future projects.

Go to my box widget at the top right of the page to hear the mp3 samples and download the Bidule.

References:

Haines, Christian. Lecture 2/10/07 "FM Synthesis." Adelaide University.

Truax, Barry. 2006, Tutorial for Frequency Modulation Synthesis, viewed 7/7 2006,
http://www.sfu.ca/~truax/fmtut.html.

Miranda, Eduardo. 1998, '3.2 Frequency Modulation', in Computer Sound Synthesis for
the Electronic Musician, Focal Press.

MTF Instrument

This is a demonstration of my instrument.
NOTE: this was recorded before lables were attached.