AA Sem 2 Project

This by far has been the best project in Audio Arts to date, well at least for me it has. Although towards the end i was a bit over the Asset creation and tired of constantly coming up with new ideas, the process is still interesting. Actually playing the game with your sounds is the best part of the whole project. Testing to see if it is actually 'believable' for the game, trying to make them better than the original sounds. My favourite sound was one of the easiest ones to make. This was the weapon change sound. It was a recording of stuffing things into a bag and it sounded just like many other FPS weapon swap sounds, and i think it was better than the original 'swoosh' sound. This is certainly a field I'll think about experimenting with in the future.

Check out the documentation in the Box Widget.

CC Sem 2 Project

This project was fun to begin with, making your own synth is very interesting, but the interest was lost towards the middle where i had already make my fundamental patches and the rest of the work was just fixing bugs, making the GUI and connecting everything together. I am not entirely satisfied with my final product. I would rethink the GUI and perhaps add other form of synthesis to the patch. This all said it was a worthwhile experience and now i have first hand experience with the inner workings of synthesis.

Check out the patch and the documentation in the box widget.

Forum Week 12

In response to Dave's question of relevance in tech subjects, i have to disagree with him. Although i don't have much interest in many of the forms of electronic music that i have been exposed to in the course, it is my ability to say that i understand, at least fundamentally, the particular style(s) of music/sound art and have decided that it's not for me. But their place in history and the influence they have on today's electronic art world is undeniable and to not be at least made aware of it would be an incomplete education of the subject. But more specifically the question of composing these styles of music. For me i didn't really find the tasks very engaging, however, as Stephen said, it is in doing that you learn the most, and i certainly did. I totally agree that without doing your education is incomplete. And although integrating these techniques into something that you would enjoy and more likely do in the future of your music career is a good idea. It doesn't give you the pure fundamentals of the art. To compose a late romantic piano concerto, you need to know how to write a classical piano sonata.

It may seem that I'm brown nosing, as Sanad has mentioned to me many a time, I truly do believe this. And although a lot of this avant-garde art is too incomprehensible for my closed mind, the fact that I've been exposed to and had it explained and still walked out less than inspired by it. I can at least not make ignorant, at least i like to think so, judgement of it.

CC2 Week 10 (11)

Delay is great. This is certainly something I'm going to use in my patch. Delay effects are the ones that i use most of the time in my own compositions. Now i have complete control over this.

Ive decided to create my favourite delay effect, ping pong delay. Its loosely based on the idea presented in the tutorial, however Ive added a few controls that i would use, i.e BPM controller and i limited the feedback and delay time controllers from one for each channel to just the same for each, i simply don't need this much control and it makes things too confusing and difficult for future use.

Check it Out in the box widget

References:

Haines, Christian. Lecture. "Delay Lines." Adelaide University.

Cycling'74 2006, MSP Tutorials and Topics,
http://www.cycling74.com/twiki/bin/view/ProductDocumentation.

Forum Week 11

The idea of technology taking over the world has been a great influence for many artists. The film industry has offered a great deal of material on the subject, films like the Terminator series, I Robot, The Matrix and has been a very popular topic in the anime field with films like Vexille and Ghost in the Shell. As technology is taking over more and more aspects of our lives and that these technologies are becoming more intuitive it make you wonder if they're intuitiveness becomes an Artificial Intelligence and they start ignoring our requests. When a machine can build a better version of itself is that too far? Do we need to keep them out of the loop? In all these films mentioned above it seems to be that when a machine can do this it ends or enslaves the human race, is there some truth behind this? Would a machine realise that we humans are the creator of our problems and try to fix us? I'm still very unsure, humans need to be kept in the loop, i don't know the power of AI and if it was close to simulating human consciousness it would be slightly worrying.

AA2 Sem 2 Week 11

Game Music is something that really interests me. It's such a new way of thinking about composition and good game music and engines make good games great. As an example Harry-Gregson Williams and his work on the Metal Gear series.

Because the game is a fast paced FPS i made a Drum and Bass style piece with a few sort of psy elements to it (using phasers and ping pong delays). I did this because of my own personal aesthetic. I used Reason to create this song.

Check it out in the Box widget.

References:

Haines, Christian. Lecture. "Game Music." Adelaide University.

Hannigan, James 2004, "Changing Our Tune", 2007,
http://www.jameshannigan.co.uk/changing.htm.

"Chapter 7 - Ideal Production". Brandon, Alexander. 2005, Audio for games: planning,
process, and production, New Riders Games, Berkeley, Calif.

Pp149 - 152. Childs, G. W. 2006, Creating Music and Sound for Games, Thomson
Course Technology.

pp246 - 252. Irish, Dan. 2005, The Game Producer's Handbook, Course Technology
PTR.

CC2 Sem 2 Week 9 (10)

I have to admit, I'm quite lost with this whole FFT thing, i think i really need to go over some of my old lecture notes. I understood it in Bidule, but MSP is a whole other level, i understand that it translates the samples over a list like output, but manipulating that is very difficult. Anyway, here's my patch. I simply multiplied two signals together using coltopol and poltocol, attenuating uncommon amplitudes and accenting common ones. Ive also included individual playback volumes to change the timbre and avoid clipping. Enjoy!

Check it out in the box widget

References:

Haines, Christian. Lecture. "MSP FFT." Adelaide University.

Cycling'74 2006, MSP Tutorials and Topics,<http://www.cycling74.com/twiki/bin/view/ProductDocumentation>.