``Os Grilos'' (or the crickets), because some parameters or initial conditions on Scanned Synthesis might sprout insect sounds. Timbre development on this piece results from combinations of instances of Scanned Synthesis generators combined to form phase differences as well as beatings intertwined with few other sounds on a spatial context. Os Grilos was composed using an implementation of this kind of synthesis developed by the composer on CLM (Common Lisp Music).
[ Stereo downmix of ``Os Grilos'' ]
Scanned synthesis models slow vibrating systems such as strings that the ear cannot perceive because of its low frequency. To get pitched sounds, the system on a circular path is ``scanned'' periodically. The speed of this process gives the frequency of the sound, however being independent from timbre. Shades of sounds are obtained by manipulating haptic parameters such as force on attacks and damping on sustains. Dynamics can have different wave shapes and are set into motion by a hammer which applies force on the slow vibrating system. Slow beatings and subtle harmonics characterize sounds using this methodology developed by Bill Verplank, Max Mathews and Robert Shaw. [ More on Scanned Synthesis]
Do we need some justification?
To Eoin Callery (September 2014):
However, this is an eight channel composition for Bill Verplank's and Max Mathews' "Scanned Synthesis". To its favor I should say, I got involved on working with this kind of synthesis because in the late nineties all you could hear around CCRMA's corridors had to deal with haptics. Max and Bill were very fond of the idea, and while at the 250 course portrayed a lot about it. In 2000 at a CCRMA colloquium they showed their working application of scanned synthesis using a radio-baton. After a while I got interested in the subject and Max handed me the 'C' code, provided I promised him I will work on my own implementation which I thought it shouldn't depend on the radio baton.
Bill Schottstaedt had also been part of the project as he wrote the visual part of the scanned synthesis program for the radio baton. One morning while Max and Bill Schottstaedt were rehearsing their violin and piano duets, I showed up and ask Bill for his support on doing a CLM, Snd version. Thereafter, I ended up doing my own implementation of circular scanned synthesis. Of course I had to make a composition using CLM, but after its premiere performance Max insisted on having control using the radio baton. I told him I would compose another piece and I did a duet piece for live piano and radio-baton scanned synthesis later on.
For some years I didn't tackle the subject until last year while at a round table with John Chowning. At that time he convinced me I should work more on the issue. Since not many batons remain available, CLM's implementation becomes relevant again. The advantage asides algorithmic composition is that you can have as many sources as needed, thereby generating a sort of attractive 'beating nuances' in addition to exploring soundfields.
Kindly forgive me for this lengthy explanation in support of why I exceeded time limitations, but most of scanned synthesis gestures require envelopes of eight to ten seconds, if not more, to be perceived as meaningful. I hope 'Os Grilos' could be my grain of salt to the Triple CCRMAlite celebration.
Best of all!,