last name POST first name NEW.

new! new! new! new! new! new! new! new! new! new! new! new! new! new! new! new! new! new! new! new! new! new! new! new! new! new! new! new! new! new! new! new! new! new! new! new! new! new! new! new! new! new! new! new! new! new! new! new! new! new! new! new! new! new! new! new! new! new! new! new! new! new! new! new! new! new! new! new! new! new! new! new! new! new! new! 

Updating this blog has been an infrequent & sporadic task.  As such, Merry Christmas to all those who dont read this (especially those few spambots ;) (i hope you choke on your robot dinner ;))).  Wish you all the very best for the 2010s... I hope you get that promotion you've been werking on.  You deserve it, thanks to your newly found 'healthy' lifestyle.  I hope you find love... I hope your house becomes a home... i hope the planet doesnt blow up... CHOOSE LIFE ETCETCKFCETC.

ANYWAY, ive just been keeping to myself really... like usual! :)  Every now and then i give the compressor a drive...

RULE ONE: ENJOY by weimer

This new mix is done in the style of phillip glass. Instead of violins and pianos, I decided to use pop songs.  It should be listened to whilst pointing upward and repeating the word NEW loudly several times. Let's make certain of that word NEW (....not old).

Thanks to Christian Haines, Stephen Whittington and all other music teachers (that stoned guitarist guy that lives down the bay), To all my family, friends and fans (you know who you are).

.sources.

SIMPLENOISETEXT INTRO

ENJOY by OUTHERE BROTHERS (CROOKERS REMIX)

CUT DICK by MR. OIZO

wantmetotellya

DEVOTION by BINGO PLAYERS

BLAU by LAIDBACK LUKE

PRETTY FLY FOR A WHITE GUY by THE OFFSPRING

BORN SLIPPY by UNDERWORLD

NEVER TEAR US APART by JOE COCKER

JEFFER by BOYZ NOISE

WE LOVE ANIMALS by CROOKERS ft. SOULWAX & MIXHELL

WHEN I GROW UP by FEVER RAY

THE BIG COME DOWN by NINE INCH NAILS

HEY! by LAIDBACK LUKE

BOOM DA by CROOKERS

WHOPPER by TOBZ, MILES DYSON

I LIKE TO MOVE IT by REEL 2 REAL

SWEET DISPOSITION by THE TEMPER TRAP (AXWELL & DIRTY SOUTH REMIX)

HALLELUJAH by JEFF BUCKLEY

HORNY by GEHT'S NOCH?

JUST DANCE by LADY GAGA ft. COLBY ODONIS

SHE GOT IT by VANDALISM, ANGGER DIMAS

MERRYMAKING AT MY PLACE by CALVIN HARRIS (MR. OIZO REMIX)

aNYway by DUCK SAUCE (ARMAND VAN HELDEN, A-TRAK)

WTF by TITTSWORTH (NADASTROM, STRETCH ARMSTRONG REMIX)

WHO ARE YOU by THE PROXY (THE BLOODY BEETROOTS REMIX)

IM IN THE HOUSE by STEVE AOKI ft. ZUPER BLAHQ

LET'S MAKE NASTY by 7A - LARRY TEE ft. ROXY COTTONTAIL (AFROJACK REMIX)

LET'S MAKE NASTY by 7A - LARRY TEE ft. ROXY COTTONTAIL (DAVIDE & KILIAN MIX #22 OMGITM.COM)

YEAH YEAH by D. RAMIREZ

ANIMAL by MIIKE SNOW (FAKE BLOOD REMIX)

WHAT YOU NEED by TIGA (ZOMBIE NATION REMIX)

WHAT YOU NEED by TIGA

WARP 1.9 by THE BLOODY BEETROOTS ft. STEVE AOKI (GTRONIC REMIX)

DANCE 8 by PHILIP GLASS

...the whole entire globe, planet, universe, fucking EVERYTHING IM SERRIOUS!!!! EVERZYTZHING!!!!!!!!!

---

song

im working on something...

---

SEXICADA!

SEXICADA �by� weimer

david attenborough - life in the undergrowth
chemical brothers - hey boy hey girl
the proxy - shottieville
laidback luke - my g.o.d.
the proxy - raven (crookers remix)
calvin harris - the girls
mr. oizo - flat beat
the black eyed peas - boom boom pow
chuckie vs lmfao - let the bass kick in miami bitch
britney spears - womanizer
tiga - hot in herre
tiga - what u need
a1 bassline - rob da bank
crookers - love to edit
the pixies - here comes your man
2-live crew - face down ass up

THANK FUCK IT'S OCTOBER!

THANK FUCK IT'S OCTOBER! �by� weimer

chemical brothers - It Began In Afrika
family guy - "the us army... AWW YEAH!"
ratm - killing in the name of (sebastian remix)
trash - the whip (crookers remix)
mstrkrft - d.a.n.c.e (justice remix)
daft punk - crescendolls_high life
sidney samson - riverside
the prodigy - omen
tiga - shoes (mr. oizo remix)
boys noize - jeffer
sebestian ingrosso - kidsos
tittsworth - WTF
justice - phantom pt. II (soulwax remix)
Wolfgang Gartner - flashback
cheap trick - i want you to want me
the bloody beetroots - warp 1.9
Human Resource Vs 808 State - dominator (soulwax remix)
armand van helden - NYC beat

myspace.com/djweimer

Rakkad

5 ‘ 48



(3 mB)

Rakkad is written with an unusual combination of soothing environmental ambience along side rapid abrasive sound-objects. Said sound-objects are applied through generative algorithms designed by Nick Collins. The long ambience sweep provides an underlay to the spikes of discord. These two sources provide the instrumentation of the work and over the period seem to resolve, though never in intentional consonance. While the generative section runs of its own accord, the ambient section is performed “live” – by a computer musician. The structure of the piece takes on a subtle golden section, but does not develop to be any more climatic at one point than another. In some ways Rakkad is a corroboration of Musique Concrète with Spectral Music. The overall musical feeling of the piece is something of a psychotically prompt movement from one idea to the next, while simultaneously remaining almost boringly static. There is no decent explanation as to why this feels like the psyche of our age.


Rakkad.mp3 (8 mB) | Documentation (Rakkad).zip (56 kB) | SuperCollider Patch.zip (4.1 mB)

---

TwentEway.Spas

.research project.



TwentEway.Spas marks the development of many creative ideas and sketches that I have grown into one work. Its idea is to map digital audio information to the parameters of graphic information – to create a multimedia work in which the different medias (sound and vision) are connected via the same, or similar data streams. I have related this to two different programming languages, one that I am at a novice proficiency with, SuperCollider (audiosynth.com), and another that I was completely new to, Processing (processing.org).

TwenTway.spas.zip (1.2 mB) | Documentation.zip (124 kB)

---

.forum - week twelve.

Today's forum class was the last ever for me, which is really.

.sources.

Whittington, Stephen 23.10.08, "Stuff," Forum of EMU, Adelaide University.

---

Human Interface Devices (HID) in SuperCollider

.cc - week ten.

I've had some fun using the HIDDeviceService class in SuperCollider, which allows you to use USB devices like joysticks, mice and any other devices you have lying around your studio to input data into SuperCollider. Originally I programmed a patch to run with a 5-button Microsoft mouse, but the patch presented here is designed for a Apple/Logitech single button mouse.



// HUMAN INTERFACE DEVICE (HID)

// Initialise HID
(
// Searches all HID interface pages
HIDDeviceService.buildDeviceList(
usagePage: nil,
usage: nil
);


// Establish HID List

// Output Device Data
HIDDeviceService.devices.do({

// Args
arg dev, devIdx;

// Print out device information
["DEVICE:", devIdx, dev.manufacturer, dev.product, dev.usage, dev.vendorID, dev.productID, dev.locID].postln;
});


// Establish HID and element list

// Output Device Data
HIDDeviceService.devices.do({

// Args
arg dev, devIdx;

// Print out device information
["DEVICE:", devIdx, dev, dev.manufacturer, dev.product, dev.vendorID, dev.productID, dev.locID].postln;

// Loop and output elements
dev.elements.do({

// Args
arg ele;

// Output element information
["ELEMENT:", ele.type, ele.usage, ele.cookie, ele.min, ele.max].postln;
});
"------------------------------------------------".postln;
});


// Queue device for usage

// Queue Device
HIDDeviceService.devices.at(1).queueDevice; //apple mouse


// Establish HID List and query device for usage based upon Vendor and Product ID

// Device Information
~vendorID = 1452; //apple's vendor ID
~productID = 775; //apple's product ID

// Output Device Data
HIDDeviceService.devices.do({

// Args
arg dev, devIdx;

// Print out device information
if((dev.vendorID == ~vendorID) && (dev.productID == ~productID), {
HIDDeviceService.devices.at(devIdx).queueDevice;
["CONNECTED:", devIdx, dev.manufacturer, dev.product, dev.vendorID, dev.productID, dev.locID].postln;
});
});

// Attach action to a device

// Action for Device
HIDDeviceService.action_({

// Args
arg productID, vendorID, locID, cookie, val;

// Output
[productID, vendorID, locID, cookie, val].postln;
});
)

// Start / stop event loop (for device polling)
HIDDeviceService.runEventLoop; // 20 milliseconds
HIDDeviceService.stopEventLoop;

// BUFFer
(

var path = ((PathName.new(Document.current.path)).pathOnly) ++"sample/";
v = Buffer.alloc(s,2048,2);
b = Buffer.read(
server: s,
path: path++"macstartup.wav");


// SynthDef

//may need to run this code twice, although once should be fine.
SynthDef("skyBurn", { arg out=0, bufnum=0, trigRate = 0.5, wipeBins = 0.95;

var in, chain;

in = BrownNoise.ar(0.8); //try PinkNoise, WhiteNoise, BrownNoise, GrayNoise

chain = FFT(bufnum, in);

chain = PV_RandComb(chain, wipeBins, Impulse.kr(trigRate));

Out.ar(out, IFFT(chain).dup);

}).load(s);
)

// Create Instance
~randComb = Synth("skyBurn", [\out, 0, \bufnum, v]);

// Setup Action for skyBurn
(
var w, b, line, titleBox; //GUI

~paraOne;
~paraTwo;
~sliderOne;
~sliderTwo;

// Action for Device
HIDDeviceService.action_({

// Args
arg productID, vendorID, locID, cookie, val;

// Switch Parameter
~paraOne = switch (cookie)
{3} { rrand(95, 100) * 0.01 } //get a new value
{4} { rrand(0.0, 2.0) - 1.0 * 0.01 + ~paraOne } //mouse movement
{5} { rrand(0.0, 2.0) - 1.0 * 0.01 + ~paraOne }; //mouse movement

if((cookie == 3) && (val == 0), {
~paraTwo = rrand(1, 20) * 0.01; //{rrand(1, 100) * 0.01};
{~sliderTwo.valueAction_(~paraTwo)}.defer;
});

// Print feedback
["Button", cookie, "Value", val, "Para One", ~paraOne, "Para Two", ~paraTwo].postln; //feedback

// Input control information into GUI
{~sliderOne.valueAction_(~paraOne)}.defer;
{~sliderTwo.valueAction_(~paraTwo)}.defer;

});

//GUI



w = GUI.window.new( "Fonzeey", Rect( 128, 600, 408, 316 ));

w.view.decorator = FlowLayout( w.view.bounds );
w.view.background = Color( 0.0,0.714,0.96 );

//title
titleBox = SCStaticText(
parent: w,
bounds: Rect(20, 100, 410, 65)
);
titleBox.stringColor_(Color.white);
titleBox.background_(Color(0.0,0.714,0.96));
titleBox.string_("Phase Vocoder - Random Bin Comb");
titleBox.font_(Font("Arial Black", 25));

//heading one
titleBox = SCStaticText(
parent: w,
bounds: Rect(20, 100, 410, 65)
);
titleBox.stringColor_(Color.white);
titleBox.background_(Color(0.0,0.714,0.96));
titleBox.string_("Morph between Noise and Sample");
titleBox.font_(Font("Arial Black", 15));

//slider one
~sliderOne = SCSlider(w, Rect(20, 80, 400, 40));
~sliderOne.focusColor_(Color.white);
~sliderOne.action_({ // Input control information into Synth
~randComb.set(\wipeBins, [0.01, 0.99].asSpec.map(~sliderOne.value));
});

w.front;

//heading two
titleBox = SCStaticText(
parent: w,
bounds: Rect(20, 100, 410, 65)
);
titleBox.stringColor_(Color.white);
titleBox.background_(Color(0.0,0.714,0.96));
titleBox.string_("Trigger Rate for Random Ordering:");
titleBox.font_(Font("Arial Black", 15));

//slider two
~sliderTwo = SCSlider(w, Rect(20, 80, 400, 40));
~sliderTwo.focusColor_(Color.white);
~sliderTwo.action_({ // Input control information into Synth

~randComb.set(\trigRate, [0.1, 10.1].asSpec.map(~sliderTwo.value).round(0.1));
});

w.front;

)


HID.rtf (12 kB) | exampleHID.mp3 (1.2 mB)


.sources.

Haines, Christian 23.10.08, "Human Interface Device," Lecture of EMU, Adelaide University.

---

≤≥

.forum - week eleven.



During Music Technology forum class we viewed a DVD titled OHS, which features many multi-media works and interviews written by / featuring some of the key figures in the short history of electronic music. Namely, the film features work of Steve Reich, Max Matthews, Robert Moog, Robert Moog, John Chowning and many others. Steve Reich's work was one of favourites - it presented the future of human sociality in a world with digital technology has connected with humanity entirely, to make our interaction wholly automated and fast.

.sources.

Whittington, Stephen 23.10.08, "Music Technology Forum" Lecture of EMU, Adelaide University.

---

.cc - week nine.


Still a work in progress. Currently this looks like it should, just all GUI elements are not working properly. I've had trouble doing this, as the BBCut Class Library is fairly difficult, or atleast unlike what I am used to when developing a GUI. While it probably looks a rushed effort, significant amounts of time went into this.

(
// Simplified Sound File Select Dialogue (Returns Handle to Sound File)
~sampleSelect = {

// Vars
var bufID;

// Read sound file into buffer and grab buffer id
bufID = Buffer.loadDialog(s);

// Return Buffer ID
bufID;
};
)
(
// Create Sample Handle
~sampleHandle = ~sampleSelect.value;
)
(
// Determine Sample Path
~samplePath = ~sampleHandle.path;
)

//use the GUI to find onsets for a loaded sample- use post to output the data array
Segmentation.new

(
// paste results here:
~data = [ [ 0, 0.44247916666667, 0.046009756624699, 1 ], [ 21239, 0.386375, 0.0027814882341772, 1 ], [ 39785, 0.8573125, 0.058457486331463, 2 ], [ 97502, 0.38320833333333, 0.015279575251043, 2 ], [ 115896, 0.78910416666667, 0.014642789959908, 2 ], [ 153773, 0.39583333333333, 0.044767320156097, 3 ], [ 172773, 0.40035416666667, 0.0050696325488389, 1 ], [ 191990, 0.84677083333333, 0.075923785567284, 1 ], [ 249257, 0.37785416666667, 0.018813425675035, 2 ], [ 267394, 0.37808333333333, 0.016685917973518, 2 ] ];
)

(

var w, clock, finalCut, finalCut2;
var buttonHi = 24, buttonStack = 20, textStack = 50, sliderStack = 80;
// GUI.window returns the window class for the current kit
// ; hence GUI.window.new instantiates a new window
w = GUI.window.new( "Cutter", Rect(128, 644, 520, 660));

// w.view.decorator = FlowLayout( w.view.bounds );
w.view.background = Color( 0.0,0.714,0.96 );

clock = ExternalClock(TempoClock(2.1));
clock.play;

5.do({ arg i; //, divLow = 1, divHigh = 2;

var b, line, titleBox;
var sf, cutSynth, cutProc, cutSlider;

b = SCButton(w, Rect(20, buttonStack, 75, buttonHi ))
.states_([
[ "Drum " ++ i ++ " Off", Color.black, Color.rand ],
[ "Drum " ++ i ++ " On", Color.white, Color.red ]
])
.action_({ arg butt;

//BUTTON ACTION
(

Routine.run({

sf = BBCutBuffer(~samplePath, 8, ~data);

s.sync; //this forces a wait for the Buffer to load

cutSynth = CutBuf3(sf); /*(
sf, //buffer
1.3, //random cut playback probab.
1.0, //ratio IOI
false, //attack env
false //release env
); */

cutProc = BBCutProc11.new; /*(
2, //sub division
4.0, //4.0, //barlength
2, //phrase bars 2
2, //numrepeats 2
1.0, //stutterchance
2, //stutterspeed divLow.round(1.0)
1.0 //stutterarea
);*/


finalCut = BBCut2(
cutSynth, // cut groups
cutProc // algorithm generating cuts
);

finalCut2 = finalCut.play;

});

)
//END BUTTON ACTION
});



titleBox = SCStaticText(
parent: w,
bounds: Rect(20, textStack, 410, buttonHi)
);
titleBox.stringColor_(Color.white);
titleBox.background_(Color(0.0,0.714,0.96));
titleBox.string_("Cut Length:");
titleBox.font_(Font("Arial Black", 15));

cutSlider = SCRangeSlider(w, Rect(20, sliderStack, 312, buttonHi));
cutSlider.lo_(0.2);
cutSlider.range_(0.4);
cutSlider.action_({ |slider|
cutProc.set(\divLow, (slider.lo * 8), \divHigh, (slider.hi * 8));
});


buttonStack = buttonStack + 100; //UI look
textStack = textStack + 100;
sliderStack = sliderStack + 100;

});
//END DO LOOP

//taken from here

{
arg divLow = 0.0;
var sliderPan, panL = 0.2; //v = SinOsc.ar(finalCut); //bad
var l, x, y, p, q, a, j, c, d;

p = LFSaw.ar(200);

q = LFSaw.ar(301);

sliderPan = SCSlider(w, Rect(400, 100, 40, 400));
sliderPan.focusColor_(Color.white);
sliderPan.action_({
//~randComb.set(\panL, [-1.0, 1.0].asSpec.map(sliderPan.value));
panL = ([-1.0, 1.0].asSpec.map(sliderPan.value).round(0.001));



});
sliderPan.value_(0.95);

//arg panVal = panL;
#l, x, y = BiPanB2.ar(
p,
q,
0.0,//panVal
0.1);


#a, j, c, d = DecodeB2.ar(4, l, x, y);

[a, j, d, c] // reorder to my speaker arrangement: Lf Rf Lr Rr

}.play;


// B-format encode

//from here

// B-format decode to quad

w.front;
)

//END

.sources.

Haines, Christian 16.10.08, "Spatialisation," Lecture of EMU, Adelaide University.

---

Nosferatu Re-Score Project Presentations

.aa - week eleven.

Today, students presented their re-score Nosferatu 'cuts' to the class.



My personal favourite re-scoring was presented was by John Delany. John composed an partially abstract electro-acoustic piece, which in my opinion worked beautifully to bring the film into a more fluid, enjoyable, emotional and (let's face it) electronic context. Dave Dowling's re-score was indeed quite typically Westernised - that is - conventional, however this is only a testament his fantastic re-score and hard work. I have approached film scoring with this method before and found although it might involve using 'clichés' it does not make the work any easier (much to my surprise). Again, an excellent project by Dave. Moving along, Ben Probert's piano re-score was brilliant I must admit - I am a sucker for Minimalism, and I give him full marks for his inventive use piano recording technique. Luke Digance's re-score was the most understated - not at all a busy score - though no other student used this approach it was actually quite effective. His decision to keep the score quiet made the 'scary' scenes all the more impacting.

.sources.

Harrald, Luke 21.10.08 "Class Presentations," Lecture of EMU, Adelaide University.

---

Nosferatu Re-Score Update

.aa - week ten.

My re-scoring project for the 1922 film "Nosferatu," is being developed into something that I did not originally have in mind - it's moving from a typical "sound-design" industrial soundtrack, to something more of a trash-goth '80s film clip. In the freedom that this project has given me - to create what ever I want (more or less), I would like to take the opportunity to create something not atypically Westernized in the soundtrack. As such, I want to firstly keep with the European culture of the film, but at the same time, bring it to a new demographic.


Nosferatu the Vampire VS. Adelaide's Night Train Theatre & Restaurant Logo

Ultimately I would like the re-score to feel a bit like a ride on the Ghost Train - 'cheesey' and fake but at the same time still very scary! This project has provided some challenges, working with a video of this length and requiring this many different tracks has caused my computer to get over encumbered at times.

.sources.

Harrald, Luke 14.10.08, “Sound Design for Film.” Lecture of EMU, Adelaide University.

---

pvFFT!

.cc - week eight.

Josh's and MCLD's extensions for SuperCollider did not integrate into my or the "most recent" build of SuperCollider for me. Basically, when I execute SuperCollider the post window prints errors. What I have created is a program that uses PV_RandComb, and I am hoping that once I have this issue resolved it will be a fairly simple process to add something like PV_OddBin or PV_EvenBin. These allow the author use selected bins from audio samples, and potentially to combine/morph them.



(
//create buffer
var path = ((PathName.new(Document.current.path)).pathOnly) ++"sample/";
v = Buffer.alloc(s,2048,2);
b = Buffer.read(
server: s,
path: path++"macstartup.wav");
)

(
//'enter' this code a couple of times to install it
SynthDef("Fonzeey", { arg out=0, bufnum=0, trigRate = 0.5, wipeBins = 0.95;

var in, chain;

in = BrownNoise.ar(0.8); //try PinkNoise, WhiteNoise, BrownNoise, GrayNoise

chain = FFT(bufnum, in);

chain = PV_RandComb(chain, wipeBins, Impulse.kr(trigRate));

Out.ar(out, IFFT(chain).dup);

}).load(s);

//make an instance
~randComb = Synth("Fonzeey", [\out, 0, \bufnum, v]);

)

(
//GUI
var w, b, line, titleBox;

w = GUI.window.new( "Fonzeey", Rect( 128, 600, 408, 316 ));

w.view.decorator = FlowLayout( w.view.bounds );
w.view.background = Color( 0.0,0.714,0.96 );

//title
titleBox = SCStaticText(
parent: w,
bounds: Rect(20, 100, 410, 65)
);
titleBox.stringColor_(Color.white);
titleBox.background_(Color(0.0,0.714,0.96));
titleBox.string_("Phase Vocoder - Random Bin Comb");
titleBox.font_(Font("Arial Black", 25));

//heading one
titleBox = SCStaticText(
parent: w,
bounds: Rect(20, 100, 410, 65)
);
titleBox.stringColor_(Color.white);
titleBox.background_(Color(0.0,0.714,0.96));
titleBox.string_("Morph between Noise and Sample");
titleBox.font_(Font("Arial Black", 15));

//slider one
y = SCSlider(w, Rect(20, 80, 400, 40));
y.focusColor_(Color.white);
y.action_({

~randComb.set(\wipeBins, [0.01, 0.90].asSpec.map(y.value));
});
y.value_(0.95);

w.front;

//heading two
titleBox = SCStaticText(
parent: w,
bounds: Rect(20, 100, 410, 65)
);
titleBox.stringColor_(Color.white);
titleBox.background_(Color(0.0,0.714,0.96));
titleBox.string_("Trigger Rate for Random Ordering:");
titleBox.font_(Font("Arial Black", 15));

//slider two
a = SCSlider(w, Rect(20, 80, 400, 40));
a.focusColor_(Color.white);
a.action_({

~randComb.set(\trigRate, [0.1, 20.1].asSpec.map(a.value).round(0.1));
});

w.front;

)

week8example.mp3 (1.4 mB) | jakesFFT2.zip (460 kB)

.sources.

Haines, Christian 09.10.08, "FFT (2)." Lecture of EMU, Adelaide University.

---

Return of the Jedi

.aa - week nine.



This post is a review of an Kathryn Kalinak's article John Williams and "The Empire" Strike Back.


Kathryn quickly makes the point that "in composing the sound to go with the future, Williams doesn't look to any of the "avant-garde" composers like Varese or Cage..." (Kalinak) in discussing his landmark usage of late-Romantic orchestration. However one point I feel she neglects to raise is that the overarching story of Star Wars is about the colonialist power, the Imperials, warring against the liberal thinking rebels. Williams choice to use a style from probably the most nationalistic period of history seems fairly easily justified in my opinion. Warfare based cinematography and Romantically composed scores go together like beer and sunshine.

I found this excerpt that presents Williams approach to the project interesting:

"Steiner never reads scripts ("I run a mile everytime I see one"), Williams avoids them also, preferring to "react to the people and places and events ... of the film itself ... Williams taps cultural associations to create … persona." (Kalinak).

Williams' method to compose for the 'people and places and events' of the film itself, and to avoid the script is intriguing - while many composers would like to be involved in the project as much as possible (ie: read the script), I can understand why this would be the case. With so many specialists and figure-heads, like actors, costume and set designers having an impact on the film, it would be important to compose with an idea of how they combine toward a final product. I suppose at the end of the day the 'people and places and events' are the only things that will make the film - any of the concept designs and scripts are just plans of how to execute these.


.sources.

Harrald, Luke. “John Williams Film Music.” Lecture of EMU Space, Adelaide University.

Kalinak, Kathryn. “John Williams and ‘The Empire’ Strike Back.” Online article, accessed 9th of October, 2008.

---

And now...

.forum - week nine.

Today several third-year students presented work to the music technology school of the EMU.



Dave Dowling spoke about his SuperCollider work "Forced Unity." This piece has spawned a further interest into algorithmic composition, resulting in a extended research project for Dave. I curiously await to see what results from this project conducted by a highly dedicated student.

Luke Digance presented a piece which uses the audio programming language SuperCollider to imitate "retro" analogue music technology. Unfortunately the piece was not complete, however, what Luke has written so far is fantastic.

Ben Probert explained his Max/MSP program "Fantastical Metal" which creates piano music itself using mathematics, probability and statistics. While the music itself becomes boring after just a few minutes, it is none-the-less the work of a bright and patient mind.

And now...

.sources.

Whittington, Stephen 9.10.2008, "Third Year Presentations." Forum of EMU, Adelaide University.

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ParaSpace

.cc - week seven.

I have had a play around with the following IXI SC classes: Scroll Number Box, Midi Keyboard, Grid, BoxGrid and ParaSpace. From the outset I liked the look of ParaSpace the most, so chose to explore it and come up with this little bit of code. It's based on an example provided in the ParaSpace help, but has some more UI functionality.



(

var popMenu, popItem, popMenu2, popItem2;

//synth
SynthDef( "SimpleSaw",
{arg freq, amp=0.01;

Out.ar(0, VarSaw.ar(freq, 0, amp)!2 * EnvGen.ar(Env.perc(0.01,0.4), doneAction:2));
}).load(s);

w = SCWindow("ParaSpaced", Rect(0, 60, 1342, 800)); //WINDOW

a = ParaSpace.new(w, bounds: Rect(0, 0, 1140, 798)); //A = PARASPACE

//SLIDER = DOT SIZE
y = SCSlider(w, Rect(1200, 80, 100, 40))
.focusColor_(Color.red(alpha:0.2))
.action_({
a.setNodeSize_(y.value * 1000);
});

//POP-UP MENU = DOT TYPE
popItem = ["rect", "circle"];
popMenu = SCPopUpMenu(w, Rect(1200, 40, 100, 20));
popMenu.items = popItem;
popMenu.action = { arg popMenu;
popItem.at(popMenu.value).postln;
a.setShape_(popItem.at(popMenu.value));
};

//POP-UP MENU = Background Colour
//popItem2 = ["red", "blue"];
//popMenu2 = SCPopUpMenu(w, Rect(1200, 0, 100, 20));
//popMenu2.items = popItem2;
//popMenu2.action = { arg popMenu2;
// popItem2.at(popMenu2.value).postln;
// a.setBackgrColor_(Color.popItem2.at(popMenu2.value));
// };

//popItem.at(popMenu.value)
//36 RANDOM DOTS
36.do({arg i; a.createNode(1100.rand.round(100), 700.rand.round(100)); a.setFillColor_(Color.new255(0, 0, 0))});

//CONNECTING DOTS
a.connectAction_({arg node1, node2;
Synth( "SimpleSaw", [\freq, node1.nodeloc.y]);
Synth( "SimpleSaw", [\freq, node2.nodeloc.x]);
});

t = Task({
inf.do({arg i;
6.do({arg j; a.createConnection(35.rand, 35.rand);});
176.do({arg j; a.deleteConnection(35.rand, 35.rand);});
0.6.coin(a.setNodeLoc1_(35.rand, 1.0.rand, 1.0.rand);
a.setNodeColor_(35.rand, Color.new255(255.rand, 0, 0));
);
a.deleteConnections;
0.5.rand.wait;
})
}, AppClock);

t.start;

w.front; //BRING TO FRONT
//w.fullScreen; //FILLSCREEN

)


ParaSpaced.rtf (4 kB)


.sources.

Haines, Christian 11.09.08, "Graphical User Interface (3)," External Lecture of EMU, Adelaide University.

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Eraserhead

.forum - week eight.



Eraserhead, like many films by David Lynch, is open to interpretation, so I thought I would go into what I gathered about the film. First of all, the overarching theme I gathered from the film is that people are stupid. All the characters in this film are stupid, particularly the protagonist, Henry Spencer. Henry is dimwitted and slow. Henry meets his girlfriend's family who are deranged and extremely weird, but nevertheless agrees to marry Mary (under terrible circumstances). Mary soon leaves Henry and he is left alone with the ugly child. To me, the reason why the baby is a vulgar reptile is because its parents were Henry and Mary - two stupid people that really should not be having children. Also it's an ugly reptile because that's the way Henry perceives the baby - in many ways this is true of how male men see very young babies. In the scene in which the film takes its name "Eraserhead," Henry dreams his head falls off and is replaced by the baby's head. This is symbolic of the common idea that ones children are left to carry your legacy on after you pass away. However, what then happens to Henry's head is that it is taken to a factory by a child, and turned into an eraser in exchange for money. This again shows the stupidity of people, of Henry - he thought his ugly child would continue his legacy instead his "legacy" was sold and turned into an eraser - something that deletes things.

.sources.

Harris, David 18.09.08 "Eraserhead," Forum of EMU, Adelaide University.

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Sound Design

.aa - week seven.

Randy Thom's article "Designing a Movie for Sound" has plenty of interesting thoughts about creating audio for a film. Many of his techniques and ideas are now well established in the field, however it is great to read an experienced expert go over some of the basics. I found his comments on the way all aspects of the sound design for a film should be formulated and woven together particularly pertinent:


"Sound, musical and otherwise, has value when it is part of a continuum, when it changes over time, has dynamics, and resonates with other sound and with other sensory
experiences." (Thom, 1999).

In a way this reminds me of the method with which most composers would work - not just sound designer's for film. All aspects of sound in a film must be considered a part of the overall composition. For example, character dialogue, 'foley' and sound effects become a part of the instrumentation in a high-quality piece of sound design.

.sources.

Harrald, Luke 09.09.08, “Designing a Movie for Sound,” Lecture of EMU, Adelaide University.

Thom, Randy 199, "Designing a Movie for Sound," FilmSound.org.

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Music & Cogitation

.forum - week seven.



Today Sanad showed us a track he made called "The Disaster of August 30th," which was composed in a experimental and electronic vein. It was quite a good effort on his part, particularly as he mentioned he had spent little time on it. Once again the mixing and compositional ideas were great, however the area which I struggle to grasp in Sanad's pop music is the structure. While Stephen admitted to grasp some kind of a plot or story - a narrative - out of the piece, I must admit the flow of the piece on a meta-level was too hap hazardous. On a more micro-level the actual transitioned were composed quite nicely, I am just unsure about why they occurred where they did in the larger structure of the piece. Nonetheless, it was a promising work.

Edward Kelly presented an impressive Max/MSP patch, which iterates dots along a series of parabolas. I should congratulate Edward effort in refusing to shy away from the mathematics of Max, something I tend to do.

John Delany's piece "BinHex_25-06" (full marks on title) is quite an impressive one. It uses many different SuperCollider UGens as different sound sources - instruments for the music. I think the problem with the work is that while most of these sources are fantastically captivating - they bring the audience into the dark atmosphere - there are a couple that do not, and in my opinion detract from the piece.

.sources.

Whittington, Stephen 11.09.08 "Student Presentations," Forum of EMU, Adelaide University.

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Nosferatu Rescore Progress

.aa - week six.

Both Dave Dowling and John Delany have opted to develop symphonic soundtracks for the Nosferatu re-scoring project. With the availability of incredible orchestra sound banks, like Garritan Personal Orchestra, there is potential both these projects to develop into something amazing. In my opinion a combination their orchestral pieces with subtly applied digital effects (such as reverbs) would really set their work apart.

Ben Probert - the man, the myth, the master – has thankfully decided to re-score a different section of Nosferatu to the rest of the class. He has decided to write some piano music for the film, which he intends to record on an old piano. This will be apart of his ‘old fashioned cinematic’ feel to the score. Ben did not expose much music in his presentation, which I am glad of, because I know when he is finished he will reveal something interesting and exciting.

Luke has an interesting theme of subtle aggravation in his re-score – the ambient sounds are designed to slowly were the audience down. What he revealed in his presentation was on-the-way to achieving this goal, and once it is finalised and polished the effect of this idea will be much greater in impact.

Crazy Matt seems to be in the drawing board stages still. A composition student played music by other composers to give us an idea for his influence for his project. His ideas for the score, such as a low-throbbing bass undercurrent throughout, seem well justified and I look forward to hearing take on scoring Nosferatu.

.sources.

Harrald, Luke 2008, “Foley and Music Presentations,” Workshop of EMU, Adelaide University.

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