This final week’s episode of audio arts was spent discussing procedures for sending signal around each of the spaces available on level 5. In this first term we’ve wholeheartedly developed an understanding of signal flow/routing in the EMU. I’m hoping that soon we will be collaborating this with a greater study of microphone recording (with sound sources other than a radio). Currently, I’ve just been referring to the microphone webpage on the EMU site; however, I’m sure there’s plenty more to it. Acoustics is considered ‘the science of sound’ by Martin Russ in his book Sound Synthesis and Sampling. As such, this phenomenon of physics is commonly associated with a lot of complex formula. In such books I’m often finding myself knee deep in perplexing theory regarding acoustics; all of which are ideas to be considered when using microphones. Personally, I’m a little more au fait with the science of computers, rather than say physics, but this is the nature of studying, I guess.
In Creative Computing we continued powering through audio software, the latest edition being Tom Erbe’s ‘SoundHack’. Once again I was impressed with the application, which alas for my PC is another OSX patron. All the more reason to get a PowerBook. And just while I’m plugging Macintosh, the pace and power that the G5’s in Schulz 4.07 offer you, in terms of computing extremely complex processes on audio in a matter of moments, is truly inspirational. I never thought I’d say it, but now I know what U2's ‘beautiful day’ Bono was onto when he made those apple commercials.
It’s my feeling that Varèse has Hitler and then the seismic ideological shift of humanity in the post war years to thank for the fact his name appears on much more than his gravestone. Despite this, the man is undoubtedly a dedicated pioneer of music and his ‘audio palette’ is actually quite thoughtful, even if it’s a little of the wall (certainly not a negative): “I can’t give you any structural insights or acedemic suppositions about how his music works…His music is completely unique.” (Frank Zappa, 1967). Varèse’s ability to more seamlessly integrate the typical ‘sound world’ of an orchestral ensemble with other sounds world is quite astounding for its time. The use of the Ondes Martenot in his Ecuatorial (1934) is one example of this.
Later in the workshop, Harris yet again made me feel archetypical of a newer generation when he played an audibly more modern piece, Wings of Nike (Barry Truax, 1987). I know the main reason as to why I got into the peice more than others Harris has shown us was because it benefitted from more advanced 'music technology' (recording, electronic instuments etc) than any of the other, older pieces we've analysed in workshop. Made a year prior to my birth, Wings of Nike had an intense atmospheric environment, created by what sound like a plane engine idling. This basis for the work was met with really only one other sound source, high frequency ‘speckly’ resonances which in my mind sounded like a swarm of cyborg mosquitoes. I’m hoping that this was Truax’s metaphor for Nike.
Bibliography
Frank Zappa quote taken from:
Fei, James. Stereo Review (page 62). G. Ricordi, 1971.
Russ, Martin. Sound Sampling and Synthesis. Focal Press, 1996.
Apple (2006) ‘Apple - PowerBook - G4’, at: http://www.apple.com/powerbook/ (accessed: 7 April, 2006)
Electronic Music Unit (
Haines, Christian . "Audio Arts - Routing the EMU." Practical Class presented in the EMU (5th floor of the Schulz Building), University of Adelaide, 04 April (2006).
Haines, Christian . "Creative Computing." Practical Class presented in the Audio Lab (Schulz 4.07), University of Adelaide, 06 April (2006).
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