220b-winter-2010

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220b: Compositional Algorithms (Wiki)

Final Project Presentations

The 220b Final presentations will take a concert format on Thursday evening, March 18 at 7:00 PM in the CCRMA stage.

Rehearsals will be held all day Wednesday and Thursday in 30 min. slots for each group or individual presenting.

Additionally, at 5:00 PM on Thursday, a tech run-through will be held to set the final changes for each piece.

Each group is required to sign up for a 30 min rehearsal slot as well as come to the Tech run-through to make sure all final settings are correct. If you cannot make the final Tech run through due to a final exam conflict, make sure you contact Ge and Rob before Thursday.

Please sign up for a slot below:

Scheduled Final Project Dress Rehearsal Times

  • Wednesday + Thursday, March 17/18, 2009 { 12:00 - 5:00 }
  • Sound check will take place in 30 MINUTE CHUNKS.
  • Please have your equipment in the room by that time.
  • Please give us that the following information:
  • N: Your name
  • D: Description of the performance.
  • E: What equipment will you use? If you need us to provide it put it in bold
  • C: Channels?

Red snake: 1-4 => 9-12 SNAKE: A-D => 13-16

Wednesday 3/17:

12:00-----------------------------------

  • N: Xiang Zhang
  • D: Paper Generated Sound Music. Live should with MIDI kb controled SndBuf.
  • E: Midi Keyboad and Dynamic Microphone. Better could be provided one dynamic microphone and one DI box
  • C: Two channel output, one channel input (to my computer, so it's fine)

Analog inputs 9/10 from Edirol (took from Studio E) - 9 (9pm) - 10 (-16) 9/10 @ -15

notes: levels are skewed hard to right on input (?); lots of ghost noise/signal clipping on input

12:30-----------------------------------

  • N:
  • D:
  • E:
  • C:


1:00-----------------------------------

  • N: Ben Roth
  • D: Simon
  • E: My laptop and your projector
  • C: A million

Analog 1/2: 12:00, -7 put mid/late in program b/c he can't make the staging dress


1:30-----------------------------------

  • N: Mike Repper
  • D: Tennis game against my computer
  • E: My laptop and keyboards, your projector, and a laptop. I have the necessary adapter for the macbook pro.
  • C: stereo


2:00-----------------------------------

  • N: Andrew Plan
  • D: last-minute troubleshooting with Rob-O
  • E:
  • C:

2:30-----------------------------------

  • N: Nick k
  • D:
  • E:
  • C:

full room stereo

3:00-----------------------------------

  • N:Stephen Henderson
  • D:Demo of keyboard into laptop and speakers
  • E:Need a slork laptop and midi keyboard to test it out
  • C:


3:30-----------------------------------

  • N: Christopher Fajardo
  • D: Demo of generative drum machine accompaniment that plays to my input.
  • E: my laptop, my drum
  • C: at least Stereo, I might want spread drum sounds to multichannel

1/2 volumes way up, weak output from laptop cross-mixed stereo

4:00-----------------------------------

  • N: Linden Melvin
  • D: I will be using pre-recorded sounds to make a soundscape for the audience to enjoy. I will be using a Trigger Finger and on-the-fly programming in ChucK.
  • E: I already have the Trigger Finger and my computer so I think I am good to go.
  • C: Stereo

I'll ride faders make sure panning is working full room stereo

4:30-----------------------------------

  • N: Adam Somers
  • D: Laptop Performance
  • E: Laptop, Touchboard, Audio Interface
  • C: 4

Motu main 1,2 + 1,2 4 chan panned clockwise 9-12 on red snake -13 on faders

Thursday 3/18:

12:00-----------------------------------

  • N: Jacob Wittenberg
  • D: Man v. Machine: Jazz Piano (interpretive) with a MIDI keyboard that controls bass lines and drumbeats and other sounds. Additionally, chucK code randomly shoots out bleeps and bloops. Basically, the point is to take something relatively tonal and set it slightly offphase (you may notice slight non-syncing noises with the bass and beats, etc.). This is intentional, as it's supposed to illustrate the imperfections and differences between human and machine noises.
  • E: my laptop, a midi-USB controller keyboard, and a Grand Piano
  • C: Just 2. I just need to plug in my computer to the speakers, and I'm good to go.

12:30-----------------------------------

  • N: Stephen Henderson
  • D: piano, guitar, vox, laptop
  • E: laptop, controller
  • C:


1:00-----------------------------------

  • N: Atticus Anderson
  • D: Musical Composition
  • E: my laptop, your stereo speaker system
  • C: 2


1:30-----------------------------------

  • N: David Kettler
  • D: Echo Chamber
  • E: laptop (ge, this'll be pupuplatter), projector
  • C: 2


2:00-----------------------------------

  • N: Blair Bohannan
  • D: Sonified EEG
  • E: 2 laptops, projector
  • C: 2

Go First... off to side, diagonal, VGA


2:30-----------------------------------

  • N: Isaac Wang
  • D: Sweetie: The Sonification of Tweets into Sweets
  • E: laptop and projector
  • C: 2 channel output

-10 on the stereo feed put down piano lid put in first 5 or 6 performers


3:00-----------------------------------

  • N: Francesco Georg
  • D: Sonified Video Game MADNESS
  • E: laptop, projector
  • C: 2 channel

3:30-----------------------------------

  • N: Colin Raffel
  • D: Flute and computer
  • E: Flute, monome, ooscc, x-station, usb audio interface, mic stand
  • C: NBC, ABC, CBS, Comedy Central, Nickelodeon (and stereo audio)


4:00-----------------------------------

  • N: Charlie Forkish + Uri Nieto
  • D: Song with Chuck Generated Music controlled by two voice inputs
  • E: We have our own audio interface and mics. In theory we just need the mixing table and the speakers
  • C: The more speakers the better (and the louder the better). However, we won't use more than two channels in theory.

25/26 +5 gain all speakers


4:30-----------------------------------

  • N: Adam Sheppard, Bjorn Erlach
  • D: We will present a performance paradox that is present in computer music.
  • E: Laptop, CCRMA computers, projector, sound reinforcement.
  • C: It is a two channel piece, but I agree with the group above, the louder the better.



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