The Machine: Remixed

21 04 2009

The idea behind the machine was to allow for a performance composition to be generated from performance on the  hardware interfaces that were built.  The following track represents a performance of various pieces of the machine with a tempo-specific backing.  The background comes from an announcement that was being projected over the phone in the kitchen.  Other sounds were produced using the 1 hit buttons, and modified over time with the control interface.

Download the Song:  The Machine Remixed

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Stanford Industries Presents: The Machine

14 04 2009

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The Machine is a fully interactive sound installation.  It is based around the theme of a circus game tent, and allows for instantaneous creativity and emergent musical experiences to arise.  It was installed for the larger circus installation that served as an immersive setting for a party on Saturday, April 11th.

The machine consists of several local sound games, from put-put golf to analogue signal processing with a theremin.  It represents an interdisciplinary effort to create a place of instant and immediate creativity.  The user ineraction was divided into 4 sub spaces:  Analog Processing, The Kitchen (with microphone processing and toys and blenders and things), The Love Seat (with rate controlled subwoofer and telephone messages), and the Sound Box (mini golf, and 12 buttons placed around the room to createambient and triggered noises).  Knobs and pressure sensitive sliders were used to control repeat rate and grain spray in the Kitchen processing unit, and there was a global “Destroyer” button that prompted and instance of the LiveCut algorithm for slicing samples on the fly, resulting in cool remix.

Sample Sound #1 (Pleasure Club, playing over telephone in loveseat)

Sample Sound #2 (Lullaby, instantiated by user interaction on theatrical blue button, followed by livecut “Destroyer”)

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220C Project: Intuitive Interfaces for Live Performance

1 04 2009

This project is a composition based on multiple levels of user interaction. The composition results from the combination of smart user interface mappings to process and organize sounds.  The tools used will be Ableton Live, various plugins for granular synthesis and randomization, as well as custom control surfaces and expressive assignments to increase workflow productivity and redefine musical interaction. 

 

Sounds will be sampled from real-world applications and instruments, and processed using side-chain gating, routing through to analogue signal processing systems, and will be using granular synthesis and other algorithmic models to morph existing waveforms into entirely new sounds.  The sounds at each point of the composition process will be “performed” with live manipulation of filter controls, as well as developing time-glitching performance algorithms to rearrange waveform playback on the fly.  The final composition / performance will be a result of the layering of these pre-recorded perfromances into an organizational model that allows for performance expressiveness while maintaining a certain degree of predictability.

 

Progress Reports

4/5:  I have been building a library of samples. The control surfaces have been taking shape as part of a sound installation project I am doing for a Circuis peerformance on campus.  I am translating MIDI Drum pads and potentiometers and switches into data sent to Ableton.  These are coding for immediate performance tasks such launching and scrubbing some of the samples, and building a lower-level phrase higherarchy.  Certain samples are being played through acoustic processing methods (distortion pedals, old amplifiers, PA in very resonant spaces) in order to get a certain acoustic resonant quality that is not present in synthesized sounds.