So I pretty much went crazy and spatialized and added things (tweaked things here and there, made sure everything had the kind of timing that I wanted). I had to do a kind of ghetto spatialization because I don't have any plugins and I couldn't get Ardour to work even though I spent $2 on it. Oh well. I did come up with a good idea though. I spatialized to four channels, so I basically just needed two stereo files: one stereo file for channels 1 and 2, and the other stereo file for channels 3 and 4. Then I could mess with the levels to get some circular sound. I also tried out this technique of filtering out certain frequencies on one channel and filtering out the other frequencies on another channel to get a weird effect. I think I might work on that some more in the future. Anyway, after taking about 3 to 4 days to spatialize it to four channels, Locky sent me an 8 channel version of this part of the piece. Right. So I doubled up my mono files to get 8 channels out of 4 and actually liked the way it sounded. Tweaked things again and then played it for the Spring concert yay. Here's a stereo version of the 8 channel version. It's definitely strange to hear it like this, but I used some weird impulse response stuff that takes 4 channels to 2 channels. I had to smush some of the 8 channels to get the 4 channel stuff but oh well, I think it captures (maybe) most of it.....
Continued working on the piece. I didn't get as far as I wanted to, but I did take some suggestions to heart and changed some stuff up. Here's the file for now:
I'm currently not satisfied with this ending and I also need to morph it into whatever Locky does. We're planning to meet up this weekend to mold it together and to spatialize.
~~$*%!!! UPDATE!! *%^^!^~~~
So I've worked on this more in the past two days. I took each of the tracks of Locky's piece and cut them up into smaller bits and processed them through my system. Then I added all of those to the piece from earlier this week, refactored a lot of things (panning, volume, equalization and such) and come with what I think is the first third of the piece. What remains is processing the original track through Derek's Sourmash system and then morphing that (??) into the original track. Here's the bit that I've got so far:
I had to mess with my ChucK file again (le sigh), but I wrote down some notes there, so heres my updated file:
Yello. So I have decided to prerecord the piece for the final performance. ChucK will freak me out if I actually play live. This way I also have more control over every single little part of the piece. In other news... I've been experimenting a plenty with my system lately. Here's a trax:
things.wav: this one is based off of tracks that I have been playing around with that I found on freesound.org
Locky McLauchlan made a track and sent me the layers so I experimented with that on my system:
Last, I recorded myself playing with each instrument/layer separately and edited/mixed it into one file...this is really, really raw. So please don't judge me. I will be working on this a lot, but this is just an idea of what I will be making for the final project/performance:
And some ChucK files were modified and added to this. Here are some of the files so that I can keep track of them in the future:
I have been working on extending parameters and features to my system and bouncing around composition ideas. I believe I will be working with my dear colleague and friend, Locky, on my final composition for the Spring concert.
I recorded a couple snippits of me playing with the fmchaos and me layering some sounds. Here's some audio samples of that:
I also added some duration and panning controls to my system along with a limiter to make sure that the sounds don't get too out of hand. When we last saw macro.ck, I don't believe it was connected to any controls. I added MIDI controls to it so that I can easily control the paramters. Additionally, I created some audio samples using the BandedWG instrument in chuck and pass those through the chaotic system. Here's some of the chuck files:
Note that even if these file names are the same or similar to last week, the files HAVE been edited.
And last, here is a recording of the BandedWG stuff that I made with all of this:
Here are the original files that I used for the above mixture:
Locky and I talked about some ideas for the composition. It will involve a rhythmic component as well as atmospheric sounds (most likely made with my chaos machine). We will also probably process the daylights out of a canonical sounding r&b piece and then reverse this processing back to the point where it just sounds like the original stereotypical r&b piece. The processing can be done partially with the chaotic system that I wrote, and partially with other programs that we both know how to use. This collaboration is still in its infancy, but we will be working on this throughout the rest of the semester (or until we have to present it at the spring concert).
I borrowed a MIDI controller from the closet next to the mailboxes in CCRMA. YAY!! It's an AKAI MPD26 and has pads (with aftertouch), sliders, and knobs. There's more settings and modes that I need to explore, but I've got some basics working.
I use the pads to trigger each sound file shred. This will select/deselect the sound file. If the file is selected, I can use a slider to control the volume of that sound file and I can use different knobs to manipulate the x and r values of the sine map. This is nice because I can switch from different values of x and r really quickly, expanding my sound palate. Here's some code for that (it's an extension of last weeks code):
X.ck: the global class for all of this stuff
chaosMIDI.ck: basic manipulation of sine map parameters (knobs) with ability to specify a sound file to play with, the gain associated with the buffer (slider), and a keyboard key to trigger it (triggered with pad)
It may be nice to finally post an audio snipit! Here's a really short bit of what this sounds like:
Then I went a little crazy and connected it to the microphone. I record 5 seconds into the LiSa buffers (into each of the 3 of them), then I stop recording and we just record what is being played out of the dac uGen into each of the three LiSa buffers. This is a type of feedback...I think. Here's some ChucK code for it audin.ck: same stuff but with microphone input
And here are some uncompelling audio samples:
If you remember, I was playing around with some FM cross-modulation a while ago. I connected this to the MIDI controller and the results are pretttty different. I think it's because I can now change the parameters (modulator gain and frequency and carrier gain and frequency) like crazy. Here's some codes:
And a sound sample:
I played around with some other things, but they are not yet worth posting. They will probably come into play as I create my piece. So probably some more fiddling around with controls, sound experimentation, and compositioning for the future.
I continued working on implementing things. I'm afraid I forgot to explain the sine map last week. It is surprisingly not complicated at all. Our parameters are x and r. We give them some inital values. di Scipio's paper from before states that x should be between -pi/2 and pi/2 and that r should go from 0.0 to 4.0. The basic map is x <- sin(r*x). This means that we update the x according to the last x. This results in some interesting sounds. When r is smaller, x oscillates less. When r is larger, x runs the gamut. I have found, with experimentation, that we still get interesting sounds when we do not stay within these boundaries.
This week, I added some keys on the keyboard so that I could manipulate the parameters of the sine map. This includes increasing and decreasing the x (which is mapped to buffer position and is also the parameter in the sine map that is continously updated) and increasing/decreasing r by a little bit, a medium amount, or a large amount. The r parameter kind of controls the value of x that will come out next, though indirectly. Smaller values of r make x oscillate less, while large values of r make x move around kind of eratically. This type of mapping allows for a better control of sound and also a wider variety of sound. Additionally, we only record the sound file once per LiSa buffer. After this, we take the output of the sound and record it into the buffer to get a feedback kind of effect. The follow ChucK files are examples of this.
X.ck: the global class for all of this stuff
chaogain.ck: basic manipulation of sine map parameters with ability to specify a sound file to play with, the gain associated with the buffer, and a keyboard key to trigger it
chaogainbuf.ck: same as above, but we add an envelope to the buffer sounds so we can kind of fade in and out of the grains
chaogainbufinterpr.ck: same as above except we now interpolate between the r paramter values
I mentioned last week that in addition to playing around with the micro level of sound, I also want to control higher level parameters at the "macro-level" of sound. I wrote this to go with the stuff above. It is simply a low pass filter with a changing Q and frequency. It can be executed with the above code. It also has some sine map stuff.
macro.ck: manipulate the higher level sounds
Although this is all nice, fine, and dandy, I feel that my control over the sounds is not quite as good or consistent as it should be. I think I will move this over to some type of MIDI control. This will allow me to turn a knob or something to switch a parameter of the dynamical system and let the value stay there. I had played around with this using the trackpad, but it's too crazy. I cannot make the mouse stay at a constant value, so I feel that there is less control. Hopefully by next week, I will have some type of MIDI -> sine map parameter mapping. From there, I should be able to explore more sounds and figure out the kind of piece I want to make from this. Yay.
I'm currently working on implementing some of the things I read about last week. Just to test some thing outs, I made something with a sine map where you can manipulate the parameters. Then hooked this up to this granular synthesis code where we trigger the system with a short sample. The last thing I played with was two cross-modulated oscillators that kind of do FM with each other. The code is linked to below.
I would still like to work some feedback into the system and continue experimenting and adding controls.
I also found this nice example that someone made. It's not my goal sound, but I think it does sound interesting.
This week, I read some more papers on chaotic sound synthesis and learned about iterated nonlinear functions to generate sound. Di Scipio offers a pretty nice explanation of this technique his paper Iterated Nonlinear Functions as a Sound-Generating Engine (link). It is similar to the chaotic sound synthesis that I wrote about above except that we iteratively apply a function to itself n times (if we are at time n). Because we apply the same function again and again, we get a type of self-similarity. This self-similarity or self-consistency is like the steady-state part of the nonlinear dynamical systems that I talked about above. This is like the I am hoping to play around with this for my final project. Moreover, he talks about playing around with sound at both the micro- and macro- levels. I like this concept and want to explore it more.
Because I am not the best at summarizing, here's a nice excerpt from Curtis Road's book Microsound on Di Scipio's piece where he uses this technique:
In his Sound & Fury, Di Scipio performs on a Kyma system (developed by the Symbolic Sound company), effecting time expansion and frequency scaling on an ensemble of acoustic instruments by using faders to control parameters such as time expansion, frequency, grain rate, and the spacing between grains.
After reading di Scipio's paper, I implemented one of the functions he talked about. It is an iterative sine map that goes from sounding like a sine wave to sounding like noise depending on the value of a parameter he calls 'r.' The sound is unremarkable, but I've included the code below so that I can refer back to it.
I like the idea of mapping these functions to granular synthesis parameters. I will probably map these to some longer snippets of sound, like I did in my 220b project. I think it would be interesting to map the position of the sound in the buffer to the iterated state. This way, when the dynamical system is not in steady-state, it will be a bit crazy, but when it is in the steady-state, it will oscillate and change subtly. This means that I would have to find parameters that go in and out of that steady-state. I will have to explore more with this idea. Another idea (and plan for the future) is to use some feedback from the atmosphere. I think this would involve getting some input from the microphone and feeding it back into the system. This could involve computing the difference between what I put out and what I got in and modifying the dynamical system with this information. For next week, I plan to implement some of these ideas. Another possible future idea is also using the techniques from Di Scipio's other paper to make environmental sounds from the nonlinear iterative functions. I think matching these kinds of sounds with granulized sounds and synthesized sounds will make for a compelling piece.
Now that I've talked about that for a while, I also looked up some examples and found some more interesting things.
I found someone's examples of sonifying Chua's chaotic circuits here: http://jamesnsears.com/2004/12/chuas_oscillator_in_musical_ap.php The sounds are not moving on their own, but I think that we could combine them in pretty interesting ways.
This site also explains EVERYTHING: http://www.stsci.edu/~lbradley/seminar/index.html
The person who worked on that site also has a great paper with examples in it: http://campbellfoster.ca/iresearchpaper/#top. I really like the examples here! Will probably take this direction because though Di Scipio's stuff is cool, he talks about how you don't have that much control over the sound. That's why he made his composition interactive. Campbell Foster instead attempts to make it more controllable by providing interaction with the feedback system.
Here is one more informative link that explains that the chaotic/nonlinear dynamical systems I talked about during the first week is actually just the same thing as iterated function systems: http://scienceblogs.com/goodmath/2007/08/iterated_function_systems_and_1.php
GOAL: My project for this class will focus on some type of chaotic sound synthesis. I would like to explore different ways of manipulating the sound based on dynamical systems. Instead of just focusing on creating timbres with the dynamic systems or just manipulating higher-level parameters of the sound with the dynamical systems, I would like to play around with all of the sound using these systems. Both the micro-level and macro-level creation of sound (as di Scipio calls them) will be created through either one or more dynamical system(s). I hope to have a piece to play or perform by the end of the quarter.
This first week of class I just read some papers and decided on a wavy version of my project idea, which is chaotic sound synthesis.
To explain this a bit, a dynamical system is a mathematical concept where you have a rule and states. At any given point in time, you have a state and the rule will always tell you what state comes next given this current state. Given some initial state, you can iterate through the system to figure out all the states for times in the future, and this is deterministic depending on the initial state (meaning there is only one future state per current state). We can have nonlinear dynamical systems which sometimes exhibit chaotic behavior which we can think of as completely unpredictable, even though it is a fundamentally deterministic system. The interesting part about these systems is that they can settle down to some steady-state. A variable moving according to the rules of this type of dynamical system will evolve over time and move towards a set we call an attractor. For these nonlinear dynamical systems, we are interested in finding these attractors because points that get close enough to the attractor will remain close even if slightly disturbed. Knowing this, we can play around with different parameters of a nonlinear dynamical system and make some interesting sounds.
This "nonlinear dynamical system" sounds kind of loaded, but luckily, there are some simple linear systems that we can use to achieve this. I coded up two simple maps in ChucK to play around with these ideas. Some code was written based on old Music 220a code, some code was written based on my old 220b project, and some code was written from scratch for this. You can click on the links below for the ChucK code. I do not have any sound files for these because I am not too happy with the sound but rather just wanted to make sure I could code this out and make it work.
begin.ck begin2.ck begin3.ck begin4.ck begin5.ck whoa.ck whoa2.ck whoa3.ck whoa4.ck whoa6.ck whoa7.ck
For the files that sound like little clicks, I set an impulse to 1 at the rate of the value of the state of the dynamical system. For the files that use a pre-recorded sound file, the state of the dynamical system determines the buffer position and the length of time that the chunk is played for.