https://ccrma.stanford.edu/mediawiki/api.php?action=feedcontributions&user=Cpdawson&feedformat=atomCCRMA Wiki - User contributions [en]2024-03-29T05:28:35ZUser contributionsMediaWiki 1.24.1https://ccrma.stanford.edu/mediawiki/index.php?title=Christie_220c_Spring_Project&diff=20743Christie 220c Spring Project2018-04-17T19:39:12Z<p>Cpdawson: /* Week 3 */</p>
<hr />
<div>== Week 1 ==<br />
I enter the course wide eyed and bushy tailed, feeling I can conquer the '''world''' via computer music. Namely, I want to find a space in San Francisco, maybe [https://www.themidwaysf.com the Midway SF] (yes, I am a woman with unrealistically high ambitions), and curate a musical set based on a physical setup.<br />
<br />
After this first week, however, I have been inspired by my classmates. While the above would be a compelling project, I am invigorated by the possibility of taking advantage of the manipulation of sound via real-time light manipulation. I am reminded of this video Ge showed in 220b: [https://www.youtube.com/watch?v=3paLKLZbRY4 Manual Input Sessions] by Golan Levin and Zachary Lieberman.<br />
<br />
In researching more work by Levin and Lieberman, I stumble across another collaboration of theirs, [https://vimeo.com/226645343 Footfalls]. This installation compels me to think of creating a larger scale interactive system. openFrameworks seems to be the software used to develop these projects; this is a program with which I am unfamiliar...<br />
<br />
== Week 2 ==<br />
Further research on feasible options. I have tried to dive into openFrameworks a little and am quite basic with the program.<br />
<br />
I found some important videos that I believe are the final inspiration for my project:<br />
<br />
[https://www.youtube.com/watch?v=mP8kCKH6dWg Interactive Laser Technology] <br /><br />
[https://www.youtube.com/watch?v=0ZQ3AjtknEk On Your Wavelength]<br />
<br />
Especially the second example. I found the drive of the biology of the human body as such an integral part of the installation quite powerful and interesting. So, I believe I have *finally* formed the current vision:<br />
<br />
A physical installation in which the user has a heart rate monitor on their finger or arm. The pulse of their heart sets the tempo (fixed? impermanent?) of the music. They then interact with a set of light beams around them to create another sound layer over the tone of their pulse.<br />
<br />
After speaking with Chris, I latched onto the idea of having this in the listening room with lasers coming from under the grate, with the user in the middle of the room. <br />
<br />
I think my biggest obstacle with this project will be my lack of experience with programming, so I reached out to Golan Levin (mentioned earlier). He referred me to Camille Utterback and Paul DeMarinis here on campus, both with quite the impressive resume regarding creative coding and computational and interactive new media arts. Perfect!<br />
<br />
== Week 3 ==<br />
Continued research. I reached out to Camille and Paul. The latter, while extremely busy this week, is squeezing me in to chat this Thursday. In the meantime, I have made a checklist of the basics which I hope to nail down by next week:<br />
<br />
&omicron; link up with Paul (and hopefully Camille?) and whittle down exactly where to begin coding <br /><br /><br />
&omicron; shopping list:<br />
: &omicron; reasonably priced laser beams<br />
:: &omicron; probably purchase ~20 to play around with and see how many can be utilized in the listening room<br />
: &omicron; heart rate monitor<br />
<br />
Aaaaand, now I present you with a rough sketch of what I foresee as a final. I am absolutely abysmal at drawing, so please excuse this.<br />
<br />
[[File:Sketch.png|center|800px|the roughest sketch you've ever seen.]]</div>Cpdawsonhttps://ccrma.stanford.edu/mediawiki/index.php?title=Christie_220c_Spring_Project&diff=20742Christie 220c Spring Project2018-04-17T19:28:20Z<p>Cpdawson: </p>
<hr />
<div>== Week 1 ==<br />
I enter the course wide eyed and bushy tailed, feeling I can conquer the '''world''' via computer music. Namely, I want to find a space in San Francisco, maybe [https://www.themidwaysf.com the Midway SF] (yes, I am a woman with unrealistically high ambitions), and curate a musical set based on a physical setup.<br />
<br />
After this first week, however, I have been inspired by my classmates. While the above would be a compelling project, I am invigorated by the possibility of taking advantage of the manipulation of sound via real-time light manipulation. I am reminded of this video Ge showed in 220b: [https://www.youtube.com/watch?v=3paLKLZbRY4 Manual Input Sessions] by Golan Levin and Zachary Lieberman.<br />
<br />
In researching more work by Levin and Lieberman, I stumble across another collaboration of theirs, [https://vimeo.com/226645343 Footfalls]. This installation compels me to think of creating a larger scale interactive system. openFrameworks seems to be the software used to develop these projects; this is a program with which I am unfamiliar...<br />
<br />
== Week 2 ==<br />
Further research on feasible options. I have tried to dive into openFrameworks a little and am quite basic with the program.<br />
<br />
I found some important videos that I believe are the final inspiration for my project:<br />
<br />
[https://www.youtube.com/watch?v=mP8kCKH6dWg Interactive Laser Technology] <br /><br />
[https://www.youtube.com/watch?v=0ZQ3AjtknEk On Your Wavelength]<br />
<br />
Especially the second example. I found the drive of the biology of the human body as such an integral part of the installation quite powerful and interesting. So, I believe I have *finally* formed the current vision:<br />
<br />
A physical installation in which the user has a heart rate monitor on their finger or arm. The pulse of their heart sets the tempo (fixed? impermanent?) of the music. They then interact with a set of light beams around them to create another sound layer over the tone of their pulse.<br />
<br />
After speaking with Chris, I latched onto the idea of having this in the listening room with lasers coming from under the grate, with the user in the middle of the room. <br />
<br />
I think my biggest obstacle with this project will be my lack of experience with programming, so I reached out to Golan Levin (mentioned earlier). He referred me to Camille Utterback and Paul DeMarinis here on campus, both with quite the impressive resume regarding creative coding and computational and interactive new media arts. Perfect!<br />
<br />
== Week 3 ==<br />
Continued research. I reached out to Camille and Paul. The latter, while extremely busy this week, is squeezing me in to chat this Thursday. In the meantime, I have made a checklist of the basics which I hope to nail down by next week:<br />
<br />
&omicron; link up with Paul (and hopefully Camille?) and whittle down exactly where to begin coding <br /><br /><br />
&omicron; shopping list:<br />
: &omicron; reasonably priced laser beams<br />
:: &omicron; probably purchase ~20 to play around with and see how many can be utilized in the listening room<br />
: &omicron; heart rate monitor<br />
<br />
Aaaaand, now I present you with a rough sketch of what I foresee as a final. I am absolutely abhorrent at drawing, so please excuse this.<br />
<br />
[[File:Sketch.png|center|800px|the roughest sketch you've ever seen.]]</div>Cpdawsonhttps://ccrma.stanford.edu/mediawiki/index.php?title=Christie_220c_Spring_Project&diff=20741Christie 220c Spring Project2018-04-17T18:19:42Z<p>Cpdawson: </p>
<hr />
<div>== Week 1 ==<br />
I enter the course wide eyed and bushy tailed, feeling I can conquer the '''world''' via computer music. Namely, I want to find a space in San Francisco, maybe [https://www.themidwaysf.com the Midway SF] (yes, I am a woman with unrealistically high ambitions), and curate a musical set based on a physical setup.<br />
<br />
After this first week, however, I have been inspired by my classmates. While the above would be a compelling project, I am invigorated by the possibility of taking advantage of the manipulation of sound via real-time light manipulation. I am reminded of this video Ge showed in 220b: [https://www.youtube.com/watch?v=3paLKLZbRY4 Manual Input Sessions] by Golan Levin and Zachary Lieberman.<br />
<br />
In researching more work by Levin and Lieberman, I stumble across another collaboration of theirs, [https://vimeo.com/226645343 Footfalls]. This installation compels me to think of creating a larger scale interactive system. openFrameworks seems to be the software used to develop these projects; this is a program with which I am unfamiliar...<br />
<br />
== Week 2 ==<br />
Further research on feasible options. I have tried to dive into openFrameworks a little and am quite basic with the program.<br />
<br />
I found some important videos that I believe are the final inspiration for my project:<br />
<br />
[https://www.youtube.com/watch?v=mP8kCKH6dWg Interactive Laser Technology]<br />
[https://www.youtube.com/watch?v=0ZQ3AjtknEk On Your Wavelength]<br />
<br />
Especially the second example. I found the drive of the biology of the human body as such an integral part of the installation quite powerful and interesting. So, I believe I have *finally* formed the current vision:<br />
<br />
A physical installation in which the user has a heart rate monitor on their finger or arm. The pulse of their heart sets the tempo (fixed? impermanent?) of the music. They then interact with a set of light beams around them to create another sound layer over the tone of their pulse.<br />
<br />
After speaking with Chris, I latched onto the idea of having this in the listening room with lasers coming from under the grate, with the user in the middle of the room. <br />
<br />
I think my biggest obstacle with this project will be my lack of experience with programming, so I reached out to Golan Levin (mentioned earlier). He referred me to Camille Utterback and Paul DeMarinis here on campus, both with quite the impressive resume regarding creative coding and computational and interactive new media arts. Perfect!<br />
<br />
== Week 3 ==<br />
Continued research. I reached out to Camille and Paul. The latter, while extremely busy this week, is squeezing me in to chat this Thursday. In the meantime, I have made a checklist of the basics which I hope to nail down by next week:<br />
<br />
&omicron; link up with Paul (and hopefully Camille?) and whittle down exactly where to begin coding <br /><br /><br />
&omicron; shopping list:<br />
: &omicron; reasonably priced laser beams<br />
:: &omicron; probably purchase ~20 to play around with and see how many can be utilized in the listening room<br />
: &omicron; heart rate monitor<br />
<br />
Aaaaand, now I present you with a rough sketch of what I foresee as a final. I am absolutely abhorrent at drawing, so please excuse this.<br />
<br />
[[File:Sketch.png|center|800px|the roughest sketch you've ever seen.]]</div>Cpdawsonhttps://ccrma.stanford.edu/mediawiki/index.php?title=Christie_220c_Spring_Project&diff=20740Christie 220c Spring Project2018-04-17T18:19:31Z<p>Cpdawson: </p>
<hr />
<div>== Week 1 ==<br />
I enter the course wide eyed and bushy tailed, feeling I can conquer the '''world''' via computer music. Namely, I want to find a space in San Francisco, maybe [https://www.themidwaysf.com the Midway SF] (yes, I am a woman with unrealistically high ambitions), and curate a musical set based on a physical setup.<br />
<br />
After this first week, however, I have been inspired by my classmates. While the above would be a compelling project, I am invigorated by the possibility of taking advantage of the manipulation of sound via real-time light manipulation. I am reminded of this video Ge showed in 220b: [https://www.youtube.com/watch?v=3paLKLZbRY4 Manual Input Sessions] by Golan Levin and Zachary Lieberman.<br />
<br />
In researching more work by Levin and Lieberman, I stumble across another collaboration of theirs, [https://vimeo.com/226645343 Footfalls]. This installation compels me to think of creating a larger scale interactive system. openFrameworks seems to be the software used to develop these projects; this is a program with which I am unfamiliar...<br />
<br />
== Week 2 ==<br />
Further research on feasible options. I have tried to dive into openFrameworks a little and am quite basic with the program.<br />
<br />
I found some important videos that I believe are the final inspiration for my project:<br />
<br />
[https://www.youtube.com/watch?v=mP8kCKH6dWg Interactive Laser Technology]<br />
[https://www.youtube.com/watch?v=0ZQ3AjtknEk On Your Wavelength]<br />
<br />
Especially the second example. I found the drive of the biology of the human body as such an integral part of the installation quite powerful and interesting. So, I believe I have *finally* formed the current vision:<br />
<br />
A physical installation in which the user has a heart rate monitor on their finger or arm. The pulse of their heart sets the tempo (fixed? impermanent?) of the music. They then interact with a set of light beams around them to create another sound layer over the tone of their pulse.<br />
<br />
After speaking with Chris, I latched onto the idea of having this in the listening room with lasers coming from under the grate, with the user in the middle of the room. <br />
<br />
I think my biggest obstacle with this project will be my lack of experience with programming, so I reached out to Golan Levin (mentioned earlier). He referred me to Camille Utterback and Paul DeMarinis here on campus, both with quite the impressive resume regarding creative coding and computational and interactive new media arts. Perfect!<br />
<br />
== Week 3 ==<br />
Continued research. I reached out to Camille and Paul. The latter, while extremely busy this week, is squeezing me in to chat this Thursday. In the meantime, I have made a checklist of the basics which I hope to nail down by next week:<br />
<br />
&omicron; link up with Paul (and hopefully Camille?) and whittle down exactly where to begin coding <br /><br /><br />
&omicron; shopping list:<br />
: &omicron; reasonably priced laser beams<br />
:: &omicron; probably purchase ~20 to play around with and see how many can be utilized in the listening room<br />
: &omicron; heart rate monitor<br />
<br />
Aaaaand, now I present you with a rough sketch of what I foresee as a final. I am absolutely abhorrent at drawing, so please excuse this.<br />
<br />
[[File:Sketch.png|center|600px|the roughest sketch you've ever seen.]]</div>Cpdawsonhttps://ccrma.stanford.edu/mediawiki/index.php?title=Christie_220c_Spring_Project&diff=20739Christie 220c Spring Project2018-04-17T18:17:08Z<p>Cpdawson: Created page with "== Week 1 == I enter the course wide eyed and bushy tailed, feeling I can conquer the '''world''' via computer music. Namely, I want to find a space in San Francisco, maybe [h..."</p>
<hr />
<div>== Week 1 ==<br />
I enter the course wide eyed and bushy tailed, feeling I can conquer the '''world''' via computer music. Namely, I want to find a space in San Francisco, maybe [https://www.themidwaysf.com the Midway SF] (yes, I am a woman with unrealistically high ambitions), and curate a musical set based on a physical setup.<br />
<br />
After this first week, however, I have been inspired by my classmates. While the above would be a compelling project, I am invigorated by the possibility of taking advantage of the manipulation of sound via real-time light manipulation. I am reminded of this video Ge showed in 220b: [https://www.youtube.com/watch?v=3paLKLZbRY4 Manual Input Sessions] by Golan Levin and Zachary Lieberman.<br />
<br />
In researching more work by Levin and Lieberman, I stumble across another collaboration of theirs, [https://vimeo.com/226645343 Footfalls]. This installation compels me to think of creating a larger scale interactive system. openFrameworks seems to be the software used to develop these projects; this is a program with which I am unfamiliar...<br />
<br />
== Week 2 ==<br />
Further research on feasible options. I have tried to dive into openFrameworks a little and am quite basic with the program.<br />
<br />
I found some important videos that I believe are the final inspiration for my project:<br />
<br />
[https://www.youtube.com/watch?v=mP8kCKH6dWg Interactive Laser Technology]<br />
[https://www.youtube.com/watch?v=0ZQ3AjtknEk On Your Wavelength]<br />
<br />
Especially the second example. I found the drive of the biology of the human body as such an integral part of the installation quite powerful and interesting. So, I believe I have *finally* formed the current vision:<br />
<br />
A physical installation in which the user has a heart rate monitor on their finger or arm. The pulse of their heart sets the tempo (fixed? impermanent?) of the music. They then interact with a set of light beams around them to create another sound layer over the tone of their pulse.<br />
<br />
After speaking with Chris, I latched onto the idea of having this in the listening room with lasers coming from under the grate, with the user in the middle of the room. <br />
<br />
I think my biggest obstacle with this project will be my lack of experience with programming, so I reached out to Golan Levin (mentioned earlier). He referred me to Camille Utterback and Paul DeMarinis here on campus, both with quite the impressive resume regarding creative coding and computational and interactive new media arts. Perfect!<br />
<br />
== Week 3 ==<br />
Continued research. I reached out to Camille and Paul. The latter, while extremely busy this week, is squeezing me in to chat this Thursday. In the meantime, I have made a checklist and a rough sketch (I am absolutely abhorrent at drawing so please excuse this) of what I foresee:<br />
<br />
&omicron; link up with Paul (and hopefully Camille?) and whittle down exactly where to begin coding <br /><br /><br />
&omicron; shopping list:<br />
: &omicron; reasonably priced laser beams<br />
:: &omicron; probably purchase ~20 to play around with and see how many can be utilized in the listening room<br />
: &omicron; heart rate monitor<br />
<br />
[[File:Sketch.png|the roughest sketch you've ever seen.]]</div>Cpdawsonhttps://ccrma.stanford.edu/mediawiki/index.php?title=File:Sketch.png&diff=20738File:Sketch.png2018-04-17T18:16:35Z<p>Cpdawson: </p>
<hr />
<div></div>Cpdawsonhttps://ccrma.stanford.edu/mediawiki/index.php?title=A_Brief_Reverie&diff=20432A Brief Reverie2017-12-12T23:21:48Z<p>Cpdawson: </p>
<hr />
<div>In making this piece, I aimed to traverse different means of sound creation and utilization in an ambisonic environment. A Brief Reverie, made in eight channels (2nd order ambisonics), follows a person in their mundane activity of popping popcorn in an apartment. While the popping begins, the subject puts on music that slowly begins to envelop the listener. This enveloping coupled with the chaotic, unsynchronized microwave noises at the inception of the piece, forebodes another dimension to the piece than simply a snack making session. The music crescendos and oscillates more hectically between the output channels and then ends rather abruptly, leaving a faint residual reverberation. The subject steps into another dimension; we hear her cautiously approaching a door. When the door opens, she faces a rather jarring symphony of bass-slapping funk music, whose various components begin to incapsulate her one by one until she shuts the door and is left in a room of void-piercing sounds. She eventually is snapped back to reality by the timer of the popcorn finishing, and the piece ends as Embraceable You finishes its last chorus.<br />
<br />
The tracks in this piece come from external recordings and computer generated sounds. The popcorn and vinyl recordings were recorded using an ambisonic microphone. I added the popcorn recording in the beginning through a panning script in ChucK in order for it to pan successfully across eight channels: for some reason, when I put these recordings into Ableton Live, they were all different lengths and ended up with staggered starting. I was going to change it for all of them to begin at the same time and have a more clean panning effect; however, I actually liked the chaotic nature of the various beeping and felt that it alluded to the surreal aspect of most of the piece while maintaining clarity of the action taking place. The middle of the piece was created in Ableton Live from various samples. I enjoyed making this piece; as this was my first time actually taking an audio project from start to finish, there were a lot of renditions of it because a lot of things I figured would sound great, well, didn’t.<br />
<br />
This link should play right into an 8-channel speaker array without any decoding or separate files:<br />
<br />
http://ccrma.stanford.edu/~cpdawson/222/Reverie.wav<br />
<br />
Aaaaand here is the binaural rendering:<br />
<br />
http://ccrma.stanford.edu/~cpdawson/222/Reverie_binaural.wav</div>Cpdawsonhttps://ccrma.stanford.edu/mediawiki/index.php?title=A_Brief_Reverie&diff=20431A Brief Reverie2017-12-12T22:53:12Z<p>Cpdawson: Created page with "In making this piece, I aimed to traverse different means of sound creation and utilization in an ambisonic environment. A Brief Reverie, made in eight channels (2nd order amb..."</p>
<hr />
<div>In making this piece, I aimed to traverse different means of sound creation and utilization in an ambisonic environment. A Brief Reverie, made in eight channels (2nd order ambisonics), follows a person in their mundane activity of popping popcorn in an apartment. While the popping begins, the subject puts on music that slowly begins to envelop the listener. This enveloping coupled with the chaotic, unsynchronized microwave noises at the inception of the piece, forebodes another dimension to the piece than simply a snack making session. The music crescendos and oscillates more hectically between the output channels and then ends rather abruptly, leaving a faint residual reverberation. The subject steps into another dimension; we hear her cautiously approaching a door. When the door opens, she faces a rather jarring symphony of bass-slapping funk music, whose various components begin to incapsulate her one by one until she shuts the door and is left in a room of void-piercing sounds. She eventually is snapped back to reality by the timer of the popcorn finishing, and the piece ends as Embraceable You finishes its last chorus.<br />
<br />
The tracks in this piece come from external recordings and computer generated sounds. The popcorn and vinyl recordings were recorded using an ambisonic microphone. I added the popcorn recording in the beginning through a panning script in ChucK in order for it to pan successfully across eight channels: for some reason, when I put these recordings into Ableton Live, they were all different lengths and ended up with staggered starting. I was going to change it for all of them to begin at the same time and have a more clean panning effect; however, I actually liked the chaotic nature of the various beeping and felt that it alluded to the surreal aspect of most of the piece while maintaining clarity of the action taking place. The middle of the piece was created in Ableton Live from various samples. I enjoyed making this piece; as this was my first time actually taking an audio project from start to finish, there were a lot of renditions of it because a lot of things I figured would sound great, well, didn’t.<br />
<br />
This link should play right into an 8-channel speaker array without any decoding or separate files:<br />
<br />
http://ccrma.stanford.edu/~cpdawson/222/Reverie.wav</div>Cpdawsonhttps://ccrma.stanford.edu/mediawiki/index.php?title=ABriefReverie&diff=20430ABriefReverie2017-12-12T22:52:31Z<p>Cpdawson: Blanked the page</p>
<hr />
<div></div>Cpdawsonhttps://ccrma.stanford.edu/mediawiki/index.php?title=222-spring-2017&diff=20429222-spring-20172017-12-12T22:51:41Z<p>Cpdawson: /* Project wiki pages */</p>
<hr />
<div>[[Category:Courses]]<br />
<br />
= [https://ccrma.stanford.edu/courses/222/ <b>Music 222</b>] - Sound in Space =<br />
<br />
__TOC__<br />
<br />
==Project wiki pages==<br />
<br />
(Edit this page to add the link to your project wiki.)<br />
<br />
*[https://ccrma.stanford.edu/ Example project]: François Germain<br />
*[https://ccrma.stanford.edu/wiki/Stimmung:_Interactive_sculptural_installation_in_3D Stimmung: Interactive sculptural installation in 3D]: Juan Sierra<br />
*[https://ccrma.stanford.edu/wiki/Elysium Elysium]: Rahul Agnihotri<br />
*[https://ccrma.stanford.edu/wiki/Dodecahedron Dodecahedron]: Yuval Adler<br />
*[https://github.com/nickgang/AFDN-reverb/wiki]: Nick Gang & Wisam Reid<br />
*[https://ccrma.stanford.edu/wiki/Infinity To Infinity]: Graham Davis<br />
*[https://ccrma.stanford.edu/wiki/Tskhovrebov222] Dipole - Anna Tskhovrebov<br />
*[https://ccrma.stanford.edu/wiki/Music-in-Motion Music in Motion]: Tyler Sadlier<br />
*[https://ccrma.stanford.edu/wiki/PhoneZone PhoneZone]: Megan Jurek<br />
*[https://ccrma.stanford.edu/wiki/VAmbiR VAmbiR]: Mark Hertensteiner<br />
*[https://ccrma.stanford.edu/wiki/Hername Her Name]: Yuan Li<br />
*[https://ccrma.stanford.edu/wiki/Spring Spring]: Ben Josie<br />
*[https://ccrma.stanford.edu/wiki/Commute Commute]: Walker Davis<br />
*[https://ccrma.stanford.edu/wiki/HeadSpace HeadSpace]: Victoria Grace<br />
*[https://ccrma.stanford.edu/wiki/A_Brief_Reverie A Brief Reverie]: Christie Dawson<br />
<br />
==Recording groups==<br />
Group 1 (SphEAR #1)<br />
<br />
* Megan: mjjurek@ccrma.stanford.edu<br />
* Rahul: ragni@ccrma.stanford.edu<br />
* Juan: juans@ccrma.stanford.edu<br />
<br />
Group 2 (SphEAR #2)<br />
<br />
* _Member 1_: email@email.com<br />
* _Member 2_: email@email.com<br />
* _Member 3_: email@email.com<br />
<br />
Group 3 (Recorder #342334)<br />
<br />
* Ziheng: zihengc@ccrma.stanford.edu<br />
* Yuan: yuanyuan@ccrma.stanford.edu<br />
* <s>Shenli: email@email.com</s><br />
<br />
Group 4 (Recorder #)<br />
<br />
* Graham: gbdavis@stanford.edu<br />
* Mark: hert@stanford.edu<br />
* Walker: walker@ccrma.stanford.edu<br />
<br />
Group 5 (Recorder #342614)<br />
<br />
* Ben Josie: bjosie@stanford.edu<br />
* Clarissa Carter: cbsc@stanford.edu<br />
* Tyler Sadlier: tsadlier@stanford.edu<br />
<br />
Group 6 (Recorder #)<br />
<br />
* Yuval Adler: adler@ccrma.stanford.edu<br />
* Nick Gang: ngang@ccrma.stanford.edu<br />
* Christie Dawson: cpdawson@stanford.edu<br />
<br />
Group 7 (Recorder #003): Zoom F8 * Chan Recorder<br />
<br />
* Victoria Grace: vgrace@stanford.edu<br />
* Wisam Reid: wisam@ccrma.stanford.edu<br />
* Anna Tskhovrebov : atskho@stanford.edu<br />
<br />
----<br />
Email [mailto:nando@ccrma.stanford.edu Nando] ~ <br />
Email [mailto:francois@ccrma.stanford.edu Francois]</div>Cpdawsonhttps://ccrma.stanford.edu/mediawiki/index.php?title=ABriefReverie&diff=20428ABriefReverie2017-12-12T19:54:11Z<p>Cpdawson: </p>
<hr />
<div>In making this piece, I aimed to traverse different means of sound creation and utilization in an ambisonic environment. A Brief Reverie, made in eight channels (2nd order ambisonics), follows a person in their mundane activity of popping popcorn in an apartment. While the popping begins, the subject puts on music that slowly begins to envelop the listener. This enveloping coupled with the chaotic, unsynchronized microwave noises at the inception of the piece, forebodes another dimension to the piece than simply a snack making session. The music crescendos and oscillates more hectically between the output channels and then ends rather abruptly, leaving a faint residual reverberation. The subject steps into another dimension; we hear her cautiously approaching a door. When the door opens, she faces a rather jarring symphony of bass-slapping funk music, whose various components begin to incapsulate her one by one until she shuts the door and is left in a room of void-piercing sounds. She eventually is snapped back to reality by the timer of the popcorn finishing, and the piece ends as Embraceable You finishes its last chorus. <br />
<br />
The tracks in this piece come from external recordings and computer generated sounds. The popcorn and vinyl recordings were recorded using an ambisonic microphone. I added the popcorn recording in the beginning through a panning script in ChucK in order for it to pan successfully across eight channels: for some reason, when I put these recordings into Ableton Live, they were all different lengths and ended up with staggered starting. I was going to change it for all of them to begin at the same time and have a more clean panning effect; however, I actually liked the chaotic nature of the various beeping and felt that it alluded to the surreal aspect of most of the piece while maintaining clarity of the action taking place. The middle of the piece was created in Ableton Live from various samples. I enjoyed making this piece; as this was my first time actually taking an audio project from start to finish, there were a lot of renditions of it because a lot of things I figured would sound great, well, didn’t.<br />
<br />
This link should play right into an 8-channel speaker array without any decoding or separate files:<br />
<br />
http://ccrma.stanford.edu/~cpdawson/222/Reverie.wav</div>Cpdawsonhttps://ccrma.stanford.edu/mediawiki/index.php?title=ABriefReverie&diff=20427ABriefReverie2017-12-12T19:53:32Z<p>Cpdawson: </p>
<hr />
<div>In making this piece, I aimed to traverse different means of sound creation and utilization in an ambisonic environment. A Brief Reverie, made in eight channels (2nd order ambisonics), follows a person in their mundane activity of popping popcorn in an apartment. While the popping begins, the subject puts on music that slowly begins to envelop the listener. This enveloping coupled with the chaotic, unsynchronized microwave noises at the inception of the piece, forebodes another dimension to the piece than simply a snack making session. The music crescendos and oscillates more hectically between the output channels and then ends rather abruptly, leaving a faint residual reverberation. The subject steps into another dimension; we hear her cautiously approaching a door. When the door opens, she faces a rather jarring symphony of bass-slapping funk music, whose various components begin to incapsulate her one by one until she shuts the door and is left in a room of void-piercing sounds. She eventually is snapped back to reality by the timer of the popcorn finishing, and the piece ends as Embraceable You finishes its last chorus. <br />
<br />
The tracks in this piece come from external recordings and computer generated sounds. The popcorn and vinyl recordings were recorded using an ambisonic microphone. I added the popcorn recording in the beginning through a panning script in ChucK in order for it to pan successfully across eight channels: for some reason, when I put these recordings into Ableton Live, they were all different lengths and ended up with staggered starting. I was going to change it for all of them to begin at the same time and have a more clean panning effect; however, I actually liked the chaotic nature of the various beeping and felt that it alluded to the surreal aspect of most of the piece while maintaining clarity of the action taking place. The middle of the piece was created in Ableton Live from various samples. I enjoyed making this piece; as this was my first time actually taking an audio project from start to finish, there were a lot of renditions of it because a lot of things I figured would sound great, well, didn’t.<br />
<br />
This link should be able to play right into an 8-channel speaker array without any decoding or separate files:<br />
http://ccrma.stanford.edu/~cpdawson/222/Reverie.wav</div>Cpdawsonhttps://ccrma.stanford.edu/mediawiki/index.php?title=ABriefReverie&diff=20425ABriefReverie2017-12-12T19:42:25Z<p>Cpdawson: Created page with "In making this piece, I aimed to traverse different means of sound creation and utilization in an ambisonic environment. A Brief Reverie, made in eight channels (2nd order amb..."</p>
<hr />
<div>In making this piece, I aimed to traverse different means of sound creation and utilization in an ambisonic environment. A Brief Reverie, made in eight channels (2nd order ambisonics), follows a person in their mundane activity of popping popcorn in an apartment. While the popping begins, the subject puts on music that slowly begins to envelop the listener. This enveloping coupled with the chaotic, unsynchronized microwave noises at the inception of the piece, forebodes another dimension to the piece than simply a snack making session. The music crescendos and oscillates more hectically between the output channels and then ends rather abruptly, leaving a faint residual reverberation. The subject steps into another dimension; we hear her cautiously approaching a door. When the door opens, she faces a rather jarring symphony of bass-slapping funk music, whose various components begin to incapsulate her one by one until she shuts the door and is left in a room of void-piercing sounds. She eventually is snapped back to reality by the timer of the popcorn finishing, and the piece ends as Embraceable You finishes its last chorus. <br />
<br />
The tracks in this piece come from external recordings and computer generated sounds. The popcorn and vinyl recordings were recorded using an ambisonic microphone. I added the popcorn recording in the beginning through a panning script in ChucK in order for it to pan successfully across eight channels: for some reason, when I put these recordings into Ableton Live, they were all different lengths and ended up with staggered starting. I was going to change it for all of them to begin at the same time and have a more clean panning effect; however, I actually liked the chaotic nature of the various beeping and felt that it alluded to the surreal aspect of most of the piece while maintaining clarity of the action taking place. The middle of the piece was created in Ableton Live from various samples. I enjoyed making this piece; as this was my first time actually taking an audio project from start to finish, there were a lot of renditions of it because a lot of things I figured would sound great, well, didn’t.</div>Cpdawsonhttps://ccrma.stanford.edu/mediawiki/index.php?title=222-spring-2017&diff=20424222-spring-20172017-12-12T19:38:13Z<p>Cpdawson: /* Project wiki pages */</p>
<hr />
<div>[[Category:Courses]]<br />
<br />
= [https://ccrma.stanford.edu/courses/222/ <b>Music 222</b>] - Sound in Space =<br />
<br />
__TOC__<br />
<br />
==Project wiki pages==<br />
<br />
(Edit this page to add the link to your project wiki.)<br />
<br />
*[https://ccrma.stanford.edu/ Example project]: François Germain<br />
*[https://ccrma.stanford.edu/wiki/Stimmung:_Interactive_sculptural_installation_in_3D Stimmung: Interactive sculptural installation in 3D]: Juan Sierra<br />
*[https://ccrma.stanford.edu/wiki/Elysium Elysium]: Rahul Agnihotri<br />
*[https://ccrma.stanford.edu/wiki/Dodecahedron Dodecahedron]: Yuval Adler<br />
*[https://github.com/nickgang/AFDN-reverb/wiki]: Nick Gang & Wisam Reid<br />
*[https://ccrma.stanford.edu/wiki/Infinity To Infinity]: Graham Davis<br />
*[https://ccrma.stanford.edu/wiki/Tskhovrebov222] Dipole - Anna Tskhovrebov<br />
*[https://ccrma.stanford.edu/wiki/Music-in-Motion Music in Motion]: Tyler Sadlier<br />
*[https://ccrma.stanford.edu/wiki/PhoneZone PhoneZone]: Megan Jurek<br />
*[https://ccrma.stanford.edu/wiki/VAmbiR VAmbiR]: Mark Hertensteiner<br />
*[https://ccrma.stanford.edu/wiki/Hername Her Name]: Yuan Li<br />
*[https://ccrma.stanford.edu/wiki/Spring Spring]: Ben Josie<br />
*[https://ccrma.stanford.edu/wiki/Commute Commute]: Walker Davis<br />
*[https://ccrma.stanford.edu/wiki/HeadSpace HeadSpace]: Victoria Grace<br />
*[https://ccrma.stanford.edu/wiki/ABriefReverie A_Brief_Reverie]: Christie Dawson<br />
<br />
==Recording groups==<br />
Group 1 (SphEAR #1)<br />
<br />
* Megan: mjjurek@ccrma.stanford.edu<br />
* Rahul: ragni@ccrma.stanford.edu<br />
* Juan: juans@ccrma.stanford.edu<br />
<br />
Group 2 (SphEAR #2)<br />
<br />
* _Member 1_: email@email.com<br />
* _Member 2_: email@email.com<br />
* _Member 3_: email@email.com<br />
<br />
Group 3 (Recorder #342334)<br />
<br />
* Ziheng: zihengc@ccrma.stanford.edu<br />
* Yuan: yuanyuan@ccrma.stanford.edu<br />
* <s>Shenli: email@email.com</s><br />
<br />
Group 4 (Recorder #)<br />
<br />
* Graham: gbdavis@stanford.edu<br />
* Mark: hert@stanford.edu<br />
* Walker: walker@ccrma.stanford.edu<br />
<br />
Group 5 (Recorder #342614)<br />
<br />
* Ben Josie: bjosie@stanford.edu<br />
* Clarissa Carter: cbsc@stanford.edu<br />
* Tyler Sadlier: tsadlier@stanford.edu<br />
<br />
Group 6 (Recorder #)<br />
<br />
* Yuval Adler: adler@ccrma.stanford.edu<br />
* Nick Gang: ngang@ccrma.stanford.edu<br />
* Christie Dawson: cpdawson@stanford.edu<br />
<br />
Group 7 (Recorder #003): Zoom F8 * Chan Recorder<br />
<br />
* Victoria Grace: vgrace@stanford.edu<br />
* Wisam Reid: wisam@ccrma.stanford.edu<br />
* Anna Tskhovrebov : atskho@stanford.edu<br />
<br />
----<br />
Email [mailto:nando@ccrma.stanford.edu Nando] ~ <br />
Email [mailto:francois@ccrma.stanford.edu Francois]</div>Cpdawsonhttps://ccrma.stanford.edu/mediawiki/index.php?title=222-spring-2017&diff=20423222-spring-20172017-12-12T19:37:42Z<p>Cpdawson: /* Project wiki pages */</p>
<hr />
<div>[[Category:Courses]]<br />
<br />
= [https://ccrma.stanford.edu/courses/222/ <b>Music 222</b>] - Sound in Space =<br />
<br />
__TOC__<br />
<br />
==Project wiki pages==<br />
<br />
(Edit this page to add the link to your project wiki.)<br />
<br />
*[https://ccrma.stanford.edu/ Example project]: François Germain<br />
*[https://ccrma.stanford.edu/wiki/Stimmung:_Interactive_sculptural_installation_in_3D Stimmung: Interactive sculptural installation in 3D]: Juan Sierra<br />
*[https://ccrma.stanford.edu/wiki/Elysium Elysium]: Rahul Agnihotri<br />
*[https://ccrma.stanford.edu/wiki/Dodecahedron Dodecahedron]: Yuval Adler<br />
*[https://github.com/nickgang/AFDN-reverb/wiki]: Nick Gang & Wisam Reid<br />
*[https://ccrma.stanford.edu/wiki/Infinity To Infinity]: Graham Davis<br />
*[https://ccrma.stanford.edu/wiki/Tskhovrebov222] Dipole - Anna Tskhovrebov<br />
*[https://ccrma.stanford.edu/wiki/Music-in-Motion Music in Motion]: Tyler Sadlier<br />
*[https://ccrma.stanford.edu/wiki/PhoneZone PhoneZone]: Megan Jurek<br />
*[https://ccrma.stanford.edu/wiki/VAmbiR VAmbiR]: Mark Hertensteiner<br />
*[https://ccrma.stanford.edu/wiki/Hername Her Name]: Yuan Li<br />
*[https://ccrma.stanford.edu/wiki/Spring Spring]: Ben Josie<br />
*[https://ccrma.stanford.edu/wiki/Commute Commute]: Walker Davis<br />
*[https://ccrma.stanford.edu/wiki/HeadSpace HeadSpace]: Victoria Grace<br />
*[https://ccrma.stanford.edu/wiki/ABriefReverie A Brief Reverie]: Christie Dawson<br />
<br />
==Recording groups==<br />
Group 1 (SphEAR #1)<br />
<br />
* Megan: mjjurek@ccrma.stanford.edu<br />
* Rahul: ragni@ccrma.stanford.edu<br />
* Juan: juans@ccrma.stanford.edu<br />
<br />
Group 2 (SphEAR #2)<br />
<br />
* _Member 1_: email@email.com<br />
* _Member 2_: email@email.com<br />
* _Member 3_: email@email.com<br />
<br />
Group 3 (Recorder #342334)<br />
<br />
* Ziheng: zihengc@ccrma.stanford.edu<br />
* Yuan: yuanyuan@ccrma.stanford.edu<br />
* <s>Shenli: email@email.com</s><br />
<br />
Group 4 (Recorder #)<br />
<br />
* Graham: gbdavis@stanford.edu<br />
* Mark: hert@stanford.edu<br />
* Walker: walker@ccrma.stanford.edu<br />
<br />
Group 5 (Recorder #342614)<br />
<br />
* Ben Josie: bjosie@stanford.edu<br />
* Clarissa Carter: cbsc@stanford.edu<br />
* Tyler Sadlier: tsadlier@stanford.edu<br />
<br />
Group 6 (Recorder #)<br />
<br />
* Yuval Adler: adler@ccrma.stanford.edu<br />
* Nick Gang: ngang@ccrma.stanford.edu<br />
* Christie Dawson: cpdawson@stanford.edu<br />
<br />
Group 7 (Recorder #003): Zoom F8 * Chan Recorder<br />
<br />
* Victoria Grace: vgrace@stanford.edu<br />
* Wisam Reid: wisam@ccrma.stanford.edu<br />
* Anna Tskhovrebov : atskho@stanford.edu<br />
<br />
----<br />
Email [mailto:nando@ccrma.stanford.edu Nando] ~ <br />
Email [mailto:francois@ccrma.stanford.edu Francois]</div>Cpdawsonhttps://ccrma.stanford.edu/mediawiki/index.php?title=220a-fall-2017/finalProjectPresentationsSignup&diff=20332220a-fall-2017/finalProjectPresentationsSignup2017-11-29T21:55:21Z<p>Cpdawson: </p>
<hr />
<div>=== Add your name to a time slot to sign up for your '''final presentation''' (required) ===<br />
'''Stage on Thursday, Dec. 7'''<br />
*10:30<br />
*10:40<br />
*10:50<br />
*11:00<br />
*11:10<br />
*11:20<br />
*11:30<br />
*11:40 Kyle Laviana<br />
*11:50<br />
*12:00 Shenli Yuan<br />
*12:10<br />
*12:20<br />
*12:30<br />
*12:40<br />
*12:50<br />
*1:00<br />
*1:10<br />
*1:20<br />
'''Stage on Thursday, Dec. 14'''<br />
*12:15 Benjamin Josie<br />
*12:25 Clarissa Scranage-Carter<br />
*12:35 Barbara Nerness<br />
*12:45 Hassan Estakhrian<br />
*12:55 Vince Ranganathan<br />
*1:05 Doga Cavdir<br />
*1:15 Jon Sorce<br />
*1:25 Ryan Smith<br />
*1:35 Ting-Wei Su<br />
*1:45 Christie Dawson<br />
*1:55<br />
*2:05<br />
*2:15<br />
*2:25<br />
*2:35<br />
*2:45<br />
*2:55<br />
*3:05</div>Cpdawsonhttps://ccrma.stanford.edu/mediawiki/index.php?title=220a-fall-2017/finalProjectPresentationsMeetings&diff=20302220a-fall-2017/finalProjectPresentationsMeetings2017-11-15T22:03:30Z<p>Cpdawson: /* Add your name to a time slot to sign up for individual meetings (required) */</p>
<hr />
<div>=== Add your name to a time slot to sign up for individual meetings (required) ===<br />
'''Classroom on Thursday, Nov. 16'''<br />
*11:30 Aditya Chander<br />
*11:40 Doga Cavdir<br />
*11:50 Noah Fram<br />
*12:00 Jane Lange<br />
*12:10 Clarissa Scranage-Carter<br />
*12:20 Vince Ranganathan<br />
*12:30 Noam Ben-Avi<br />
*12:40 Shenli Yuan<br />
*12:50 David Weber<br />
*1:00 Matt Millett<br />
*1:10 Barbara Nerness<br />
*1:20 Elena Georgieva<br />
*1:30 Jingjie Zhang<br />
*1:40 Michael Freeman<br />
*1:50 Fei Jia<br />
*2:00 Anna Tskhovrebov<br />
*2:10 Brandon Wu<br />
*2:20 Ting-Wei Su<br />
*2:30 Cara Turnbull<br />
*2:40 Marina Cottrell<br />
*2:50 Adi Chang<br />
'''Seminar Room on Thursday, Nov. 16'''<br />
*3:00 Ben Josie<br />
*3:10Johnowen Lowe<br />
*3:20 Keith Weisenberg<br />
*3:30 Andreas Garcia<br />
*3:40 Ryan Atkins<br />
*3:50<br />
*4:00<br />
*4:10<br />
*4:20<br />
*4:30<br />
*4:40<br />
*4:50<br />
*5:00<br />
*5:10 Kyle Laviana<br />
*5:20 Mikaela Berkeley<br />
*5:30 Hassan Estakhrian<br />
*5:40 Christie Dawson<br />
*5:50</div>Cpdawsonhttps://ccrma.stanford.edu/mediawiki/index.php?title=220a-fall-2017/finalProjectPresentationsMeetings&diff=20282220a-fall-2017/finalProjectPresentationsMeetings2017-11-15T00:09:44Z<p>Cpdawson: /* Add your name to a time slot to sign up for individual meetings (required) */</p>
<hr />
<div>=== Add your name to a time slot to sign up for individual meetings (required) ===<br />
'''Classroom on Thursday, Nov. 16'''<br />
*11:30 Aditya Chander<br />
*11:40 Doga Cavdir<br />
*11:50 Noah Fram<br />
*12:00 Jane Lange<br />
*12:10 Clarissa Scranage-Carter<br />
*12:20 Vince Ranganathan<br />
*12:30 <br />
*12:40 Shenli Yuan<br />
*12:50 David Weber<br />
*1:00 Matt Millett<br />
*1:10 Barbara Nerness<br />
*1:20 Elena Georgieva<br />
*1:30 Jingjie Zhang<br />
*1:40 Michael Freeman<br />
*1:50<br />
*2:00<br />
*2:10<br />
*2:20<br />
*2:30 Cara Turnbull<br />
*2:40 Marina Cottrell<br />
*2:50<br />
'''Seminar Room on Thursday, Nov. 16'''<br />
*3:00 <br />
*3:10Johnowen Lowe<br />
*3:20<br />
*3:30 Andreas Garcia<br />
*3:40<br />
*3:50<br />
*4:00<br />
*4:10<br />
*4:20<br />
*4:30<br />
*4:40<br />
*4:50<br />
*5:00 Christie Dawson<br />
*5:10<br />
*5:20<br />
*5:30<br />
*5:40<br />
*5:50</div>Cpdawsonhttps://ccrma.stanford.edu/mediawiki/index.php?title=220a-fall-2017/studentmusic&diff=20272220a-fall-2017/studentmusic2017-11-14T16:23:06Z<p>Cpdawson: /* SIGN-UP for MUSIC Presentations on wiki */</p>
<hr />
<div>== SIGN-UP for MUSIC Presentations on wiki ==<br />
3 students per day<br />
<br />
* Thurs. 9/28: Colleen, Kyle, Shenli <br />
* Tues. 10/3: Noam, Ben, Amanda <br />
* Thurs. 10/5: <br />
* Tues. 10/10: WHALE WATCHING<br />
* Thurs. 10/12:Jingjie, Jon,<br />
* Tues. 10/17: Hassan Estakhrian, Adi Chander<br />
* Thurs. 10/19: Vince Ranganathan, Fei Jia, cajoseph<br />
* Tues. 10/24: Cara, Barbara Nerness<br />
* Thurs. 10/26: Elena, Andreas<br />
* Tues. 10/31: Noah F., Colleen<br />
* Thurs. 11/2: David Weber<br />
* Tues. 11/7: Matt Millett, Anna T<br />
* Thurs. 11/9: Charlie<br />
* Tues. 11/14: Kent M, Clarissa, Ryan S<br />
* Thurs. 11/16: Johnowen Lowe, Doga Cavdir<br />
* Tues. 11/21: (no class - Thanksgiving Break)<br />
* Thur. 11/23: (no class - Thanksgiving Break)<br />
* Tues. 11/28: Jane L., Christie<br />
* Thur. 11/30:</div>Cpdawsonhttps://ccrma.stanford.edu/mediawiki/index.php?title=220a-fall-2017/ProArtsGallery_signup&diff=20228220a-fall-2017/ProArtsGallery signup2017-10-31T19:19:50Z<p>Cpdawson: </p>
<hr />
<div>== SIGN-UP for Pro Arts Gallery Trip (Deadline: Thursday 11/2/17 by 1:30 p.m.) ==<br />
<br />
'''The trip will be on Thursday, Nov. 9th, to the Pro Arts Gallery in Oakland. We will get a bus. Please sign up here by adding your name by Thursday, Nov 7th at the end of class.'''<br />
<br />
* 1 Nolan Lem<br />
* 2 Emily Graber<br />
* 3 Chris Chafe<br />
* 4 Colleen Josephson (I live in SF, will drive self and meet you in Oakland/SF)<br />
* 5 Aditya Chander (will not come back with the class)<br />
* 6 Cara Turnbull<br />
* 7 Jingjie Zhang<br />
* 8 Fei Jia<br />
* 9 Hassan Estakhrian<br />
* 10 David Weber<br />
*11 Charlie Jarvis<br />
*12 Christie Dawson</div>Cpdawson