In Audio Arts we finally stepped into the realm of studio one. Its capability to produce audio in 5.1 channels is something I’m quite excited to endeavour into, despite Christian mentioning that it’s a little used facility. Once I progress from such a novice level of recording, this will certainly be something I want to investigate. Other advantages of the studio include the C24 mixer, which seems quite extensive and superior to the 01V, particularly for recording multiple instruments. And I realise everyone goes on about it, but the fact that a monkey works inside it, synchronising track levels with Pro Tools all day is just awesome. Coming Monday I’ll find much more out about the studio during the three hour session I’ve booked in there.
During Creative Computing we continued to cover visual representations of sound. Moving on from pulse code modulation and Peak LE, we went onto look at Spectral sound representation and Spear. It seems an invaluable tool for timbre manipulation and I can’t believe it’s only a 1.5 Mb download. It must run under a lot of ‘algorithmic’ type code, and would seem to be perfect for making ambient music. As Christian described it, it’s something of a ‘paint pallet’ for creativity with sound. Each week Creative Computing is making me want an Apple of my own, with not only some sound applications not being available on Windows, but file quality and universality not always being the best when working with both OS’s. For this reason, I’ve starting looking into perhaps getting an old, high-end G4 laptop. There can be no understating how much better this would be than an external hard-disk drive but, unfortunately, it will take me bit longer to save up for.
Lately I’ve been reading much about ‘modernist’ composers, such as the likes of John Cage, so in Forum class it was pleasing to finally put the name to a noise. The more I equally learn and listen to these unique composers, the more I’m getting into it. For example, I noted that the first piece ‘Music for Carillon’ (1954) was comprised solely of ‘cluster chords’ played on some kind of chimey organ. (Click on the image at the bottom of this post to hear a 'cluster chord'). In his novel New Directions in Music, David Cope outlines the origins of this technique, “[Around 1911] the cluster chord came into existence. These both represent some of the first uses of traditional noise as an acceptable musical element and, as such, involve a greater philosophical meaning to contemporary music than many have suggested.” Prehaps the thing i most enjoy about these modernists composers is not their music (because I didn’t especially enjoy ‘Music for Carillon’), but just how innovative their thinking and methods where. Although I won’t be rushing out to hear more of Cage, ‘sound-mass’ as an idea is somewhat stirring. For the same reason, it’s now my feeling that the more sound you can have an appreciation for, the more compositional tools you free to your disposal.
Sound-Mass:
Bibliography
Cope, David. New Directions in Music.
Harris, David . "Music Technology Workshop - John Cage." Workshop presented in the Electronic Music Unit, University of Adelaide, 30 March (2006).
Haines, Christian . "Audio Arts - Studio 1." Practical Class presented in the EMU (5th floor of the Schulz Building), University of Adelaide, 28th March 2006.
Haines, Christian . "Creative Computing - Peak LE." Practical Class presented in the Audio Lab (Schulz 4.07), University of Adelaide, 28th March 2006.
2 comments:
What is the definition of a cluster chord?
A viola section playing on the C string.
What is the definition of a cluster chord?
A viola section playing on the C string.
Post a Comment