Archive for the meeting notes Category

CCRPG Sussex talk

Posted in creative practice, meeting notes, reading, research with tags , , , , on 25/01/2012 by sync24

As a member of CCRPG it was my turn to do a talk to the group,
so i bared all and went through a history of me and my practice…
http://ccrpgsussex.wordpress.com/2012/01/24/group-meeting/

here’s my slides:

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sound studies for NC

Posted in creative practice, gear, meeting notes, music on 19/06/2009 by sync24

Between 6/5/09 and 16/6/09 I managed to create about 4 sound studies for NC.
The notes I took along to the meeting between NC and myself (11.00 17th june 2009) are below and have been slightly edited since.

Have made a couple of tracks or ‘fiddles’,

First one:
Layered things up that had been set up using SH09 synth and Bitrman ringmod with a bit of compression.
Resulting sounds were interesting; I’d spent around 15 mins getting a sound sorted out.
The sounds I was looking for were ones that would take me away from knowing what was going on, so I’d lost control of the machine and it was doing it’s own thing, the synth was warming up, the ring mod was doing odd things in response to these sounds due to the unstable nature of the warm-up process.
The synth was also set onto a limitedly modulated random oscillation, which expanded upon peculiarities of the, at this point unstable nature of the machine (due to warm-up process).
These ‘set-ups’ were left to play out for a while and recorded.
Different set-ups were created in the hope of creating a whole picture, as it were, to then be pieced and layered together in the creation of a whole piece.
MP3 Multitrack1 (4.6mb @ 192kbps).
Second fiddle, same process as above, added some SH09 filtered modulated & ring modulated voice and breathing.
MP3 Multitrack2 (3.8mb @ 192kbps).

Next one:
Expanding from previous experiments with the random element, I set the oscillator modulating at a comfortable speed, then worked on a sound for 5 mins or so.
I then recorded or let it play out for a minute.
Continued until I had 5 or 6 pieces to play with.
One piece was set up as beat and I counted steps in 4/4
Other pieces were then layered, shuffled about, off-set and faded in/out over the top of the main beat.
Structural elements of dance music were used lightly to create intro, build etc.
This track was also designed to last about 1min. With an extra bit of bass at the end it was just over.
MP3 1 minz (1.5mb @ 192kbps).


Final one:
Thinking about the drones and drawn out textures from previous fiddles,
Set up SH09 (single osc with 1 oct down sub osc) feeding sound into SPV355 (2 osc also with sub osc)
Sources were faded in, SH09 was being pitch tracked by SPV355,
Texture from both being sent to Space Echo on slowest delay with medium F/b, this was fed straight through ring mod.
MP3
noise01 (7.8mb @ 192kbps).

I like the idea of some kind of drone work, extended textures for techno or something…

I think I have got a bit confused about how many tracks I made… was it 3 or 4…?
I’ll look into this and update accordingly.

I will also update this with the notes from the actual meeting with NC, as I need to go through them and dig out the references etc.

Here they are as they stand now:
Curtis roads judging compositions – first transition
Jump round 50 of volume
Click y crackle bit glitchy…

Analog synths and chaos
Chua oscillators? In computer music journal
http://mysite.mweb.co.za/residents/cyb00746/chaos/chaos.htm
http://jamesnsears.com/2004/12/chuas_oscillator_in_musical_ap.php
http://www.chuacircuit.com/site/pages/p1.htm
http://electro-music.com/forum/post-133070.html&highlight=
http://www.worldscinet.com/ijbc/15/1502/S0218127405012156.html
http://books.google.co.uk/books?id=X-Hw2sY19c4C&pg=PA1&lpg=PA1&dq=building+a+Chua+oscillator&source=bl&ots=0PonhokWt5&sig=4KlgHZh12LOkWBXLumN-Ab8MKKY&hl=en&ei=sKKySqyJMIel4QaP-fS2Dg&sa=X&oi=book_result&ct=result&resnum=1#v=onepage&q=building%20a%20Chua%20oscillator&f=false
http://electro-music.com/forum/viewtopic.php?t=34721

Dan slater, chaotic sound synthesis
Cmj vol 22 no2

Feedback
Lucier, David Behrman, David Tudor, Ron Kuivila, Nic Collins,
Agostino di Scipio

Theory of feedback systems, linear systems filtering
Recursive filters inf impulse response.
non linear physical modeling
coupled equations tipped over the edge
iterative maps,
chaotic systems

Live performance about bemusing the audience, let them think u r doing one thing and be doing something else…
(ma pres with gran synth)
as if it’s all gone wrong, or they are being kidded into thinking ur doing one thing when ur doing something else.

Bohor xenaki schafera scalpel in your skull)

End of noiz not 100%

Formalist – imposing ‘shapes’ over sounds
Serialist –

Contemporary music review (nick)
Generative music

Curtis roads – composing electronic music – new book on the way

Culture moving too fast tech progress not enough time to reflect on what there is already.

Thoughts toward performance, think about installation etc.
Participation

Manzini base of the world

Instal/perf mock ups over summer for opportunities next year

do two sound studies for NC

Posted in creative practice, meeting notes on 05/05/2009 by sync24

From the first (30/4/09) meeting between MB, NC and myself, NC suggested I create 2 sound studies with some specific limitations.

NC emailed me this on 1/5/09 regarding ‘limitations’:
“a few hours per day, creating 15 pieces for the month of April:
http://www.kafkagarden.com/april09/spiel.html
see also Fredrik Olofsson’s April linked from there for one hour a  day live coding for 30 pieces, and previous attempts…”

…which was an interesting read and helped me to make some decisions in my creative process regarding giving over a certain amount of time to sound creation, followed by a certain amount of time for editing etc.
FO gave over 1-2 hours daily to create material, followed by similar time finishing the piece.
FO would also blog about each days work and present examples of the work undertaken.

The following are his aims (the ones in italics appeal to me):
* exploring what kind of results can be achieved under strict time pressure, freeing myself from my obsessive nature of overworking, overanalyzing and overpolishing my work.
* exploring having a more playful and spontaneous approach to creative work, as opposed to the cerebral and overcomplicated methods I usually employ.
* exploring whether or not I can lose myself in the actual act of creating for the sake of the activity itself, instead of being totally result-oriented.
* exploring what difference it makes to work knowing that someone (Fredrik) is constantly monitoring the progress, day by day.
* having fun

I’d say, in response to “exploring what kind of results can be achieved under strict time pressure”, that my version of this would be that I’d work on a sound until I believed it was ‘ready’. I’d search for the right sound, find it and then leave it alone, trying not to over work it – something I have been wary of from art college days…

How about this one: “exploring having a more playful and spontaneous approach to creative work” – I’ve always played and tried my best to be spontaneous, so that covers “having fun” too.

As for “exploring whether or not I can lose myself in the actual act of creating for the sake of the activity itself”…I think one of my aims with making sounds is to try and create some kind of engulfing sound that I can lose myself in, making a sound where the sources become confused so I’m not sure where it has come from, something that then becomes unrepeatable within the process of using older analog synths and something that takes me away from where I am – sitting on the floor trying to get a certain sort of sound from the machine.