weimerhead

In creative computing this week we examined the application of musique concrete type techniques in digital audio editors. One of the techniques that I found particularly fascinating was the ‘palindrome.’ Although this is something I’ve defiantly used before, sometimes you need to hear someone (Christian) talk about something, and give it a name, before you consciously start applying it. As such, the introduction of my creative computing project contains plenty of palindromes now and gives me the exact sonic effect of mechanical workings that I was after. I also found the discussion of ‘white noise’ quite intriguing, giving the sound designer the opportunity to sculpt something out of an extremely thick blot of PCM data. The possibility for a snare drum, through the use of a fade out, is one of the more obvious of such possibilities.

I’ve long anticipated the audio arts class in which we record the drum kit. After accessing the recordings of the drums after the class, I found it a little difficult to differentiate between which postions of the ambience-dedicated Neumann U87 were what. Of the different positions which Christian sampled, there is a variation in the amount of bass and mid/treble which the microphone manages to pick up, but apart from that observation I am still pretty clueless about the aparent "spots" in the EMU space. Can you tell me where the EMU-spot is?

Personally, I did not have the best week at workshop, first of we had “Wrath of Angry Gools” by Gutbucket. With many abstract timings, it reminded me of a lame version of Tool or The Mars Volta, whose timings seem to fit their melodies rather than just being weird timings for the sake of being weird timings. Proceeding this piece we heard Bach’s “Ricercar” from Musical Offering, which was clearly a masterpiece. I often wonder how much more profoundly this music would fall on my ears if I were hearing it in the 18th century and was not so used to such textural and timbrel variety in music. It’s this aspect that makes the extremely complicated music a little dull. He’s still a genius though - sorry Bach if you're reading this.

Further into the forum, second year student Vinny Bhagat consumed the class with an emotional performance. In a bit of a Sigur Ros or prehaps Mum vain, he soloed on the piano while electric drones wailed from his laptop running Reason. It was a fantastic performance, congratulations to him.

Later, Patrick spoke about a concert being held in an observatory later this year – asking if anyone was interested in taking part. I was quick to let him know that I share his interest in space, and would like to perform at a concert were everything is pitch black. Sounds freegin’ cool! A friend of mine, who plays the bass, has taken interest also, so I’m thinking I will compose something for bass, keyboard and umm… laptop.

For all the LSDj addicts here's the x files fugue.

Well its come to that time of the uni year, the first semester is over. It has gone so damn fast, I’m starting to get envious of the C4 students: I can feel my time running out already. It’s been great (and somewhat relieving) meeting and getting to know people who share my passion for music making. You, and the mass of work we do, make everyday exciting.

Referances

Haines, Christian. "Audio Arts – Recording Drum Kits." Practical Class presented in the Electronic Music Unit, Studio 1 and EMU Space, 5th floor, Schulz Building, University of Adelaide, 30th May (2006).

Haines, Christian. "Creative Computing – Music Concrete Type Techniques" Lecture presented at the Audio Lab, 4th floor, Schulz Building, University of Adelaide, 1st June (2006).

Harris, David. "Music Technology Workshop – Gutbucket, Bach, Toby Twining, Arnold Dreyblatt, Yoshihide and Stravinsky." Workshop class in the Electronic Music Unit, EMU space, 5th Floor, Schulz Building, University of Adelaide, 1st June (2006).