Tsuki

The basic idea for this patch was that a user could load any of their pictures into the patch, click on a point within the picture and the patch would read the colour values of the selected pixel and would take the alpha, red, green and blue values (ARGB values) and in some way use those values as a parameter for creating sound or as a parameter for manipulating sound. Also, the pixels surrounding the chosen pixel, and then those surrounding those and on for a determined range should have their values used. Visual feedback on the picture would also be necessary to allow the user to understand the coherence between the picture and the sounds produced.

The task of creating an expanding square that read pixel values along the way was achieved by designing a system, where the positional value of the chosen pixel was reported and then each immediately surrounding pixels were selected and read. The pixel-scanning sub-patch then reset itself for the pixels surrounding those. Once that selection was complete, the patch completely reset itself in preparation for the next mouse click selection. As well as reading the ARGB values, the pixels selected turn white in a black matrix. The values then reset after a short period of time back to black to restore the original image. This matrix was then mixed with the original picture matrix so the expanding square shows through. The black matrix is also processed with other Jitter objects to alter the appearance of the expanding square for more interest.

Once the values have been received from the pixels, those values are translated into frequency values for the additive synthesiser. The sounds that occur from this are enveloped so they have an allotted time in which to slowly die out. The sound is also panned relative to where the user clicked on the picture. Recording the original sound, re-sampling it and having the sound pulsate in short bursts using random envelope generation produces the glitch effects. These are panned randomly in the stereo field.

The commercial chosen for this project was a Nike advert from 1996, which depicts the most famous footballers of the time playing a match against a team of demons. The current soundtrack was orchestral and choral, which gave a haunting and dramatic tone. It was considered that due to the fast pace of the commercial, the evil and demonic theme, and the aggressive style of play of the sport that a heavy metal track suited the ambiance.

The track was sequenced along with the video in Logic and had four main elements, guitar, drums, effects and vocals. The guitar was recorded via DI, using heavy overdrive settings on guitar amplifier modeling software. A seven-string guitar was used as the lower registers allowed for low, crushing riffs, that suited the video. The drums were from BFD 2 (drum sampling software package) and were programmed in the style of typical modern metal. Various explosion, thud and ‘vehicle pass-by’ samples were layered to create the environmental sounds, especially the explosion of the goalkeeper demon in the final part of the video. Small excerpts of voices from the original video were included as they were unavoidable to miss out and were the voices of the famous Footballers. This however, included only two very short snippets. A choral sample of the word ‘evil’, chanted in loud breathy voices was used to introduce the transition between the outside view of the stadium and the inside.

The track was structured around key points in the video, on which is was appropriate to start or end a bar on. One of the best examples of this is the kickoff when a new guitar riff was introduced and the main drum rhythm was introduced. For a short section when the ball was being held in the air, a fast solo, ‘shred’ guitar section was played to highlight the anticipation of the ball flying about the pitch and to where it would land. Straight after this section, the guitar power chords start at a low point and continue upwards at the same time as the drumbeat becomes more broken to build the tension towards the final goal.

To end the piece, a short, hard riff accompanied the Nike logo appearance to brand the product and to give the commercial a sense of finalisation.

Commercial

The Roadrunner cartoon music was inspired and in keeping with the traditional style of orchestral score composed by Carl Stalling. The aim was to create a piece that closely followed the events of the cartoon and also setting the mood of the events occurring at that time. Also, it is an appropriate approach to ‘Mickey Mouse’ events in the cartoon by giving occurrences in the cartoon musical punctuation.

Two orchestral sample sets were used to make the score and was sequenced using Logic. Events such as fast paced running were typically scored with fast paced strings, often accompanied with another instrument for variation, such as doubling with a Xylophone. Drum rolls were used to preempt events and build up tension. Brass was used to accompany strings as well as to have its own singular parts. The bass clarinet was used to signify foreboding and danger due to its dark and threatening tone. Plucked strings were used to follow the footsteps of the Roadrunner as the short, forceful peaks of sound well punctuated the events. Chimes were also used to highlight the appearance of the names of Roadrunner and Wiley Coyote.

Road Runner Final 

Fairly tough Techno set. Dark undertones and polyrhythms galore.

Suck On This

Hey Guys. I had a bit of an abstract idea for this piece, As per Brian Eno’s comments I wanted to make a piece that represented an atmosphere and also relevant to his idea of a piece that prepares the listener for death. Morbid as this sounds I didn’t take that idea in such a literal way. Rather I wanted to create an atmosphere of peace and tranquility in an environment in which a human cannot be within. So I attempted to recreate the sensation of being in the centre of a body of water in a forest or similar environment. When I say centre I also mean depthwise as opposed to floating on the surface. The listener is floating face facing up, out of the water.

The different elements within the piece symbolise the different elements within the recreated environment. The vocals symbolise the water’s surface. The Lower register strings symbolise the hidden and unknown depths. The chimes represent leaves and other debris dropping onto the water and in some cases sinking through it.

ambient.mp3

Hey guys. This is the Electronica piece I was most happy with upon submission. I’m afraid it was made with very little actual musical intention at hand, I just started it and it led from there. I auditioned the audio clips I had available from the three pieces; Shock the Monkey, Help me Somebody and A Secret Life.

I built up a library of clips I liked the sound of and that I thought would work together structurally and melodically. I ‘warped’ the clips in Ableton Live, sequenced in Ableton and mixed down the tracks via ReWire into Logic Pro 8. This allowed me to use the ease of loop sequencing with Ableton with the DSP power and automation of Logic.

This is a new set, the first from my new controller setup. A blend of slower (115 - 125) Electronica and Minimal Techno. This mix concentrates on a relationship between dark and light. Fairly chilled out. You can either listen or download from DivShare.

Enjoy.

Fingers to the left

This is the first crit draft of my Road Runner project for MfDM. Using Orchestral Samples I scored the piece. I had lots of trouble getting going. Spent ages sitting there not knowing how to start. I found the best way was to break the film up into scenes using markers and then mark key hits. Its alot easier when you can see the movie as a whole but have little manageable chunks to score…..

Road Runner