To make this piece contrast with the other I went about creating it in a totally different way. Instead of using samples, like I did in my fist piece, I only used a single sound source for all of my sounds. My sound source was the software synth ‘TAL – Bassline’, which is simply a copy of the Roland SH-101 analogue synthesier. I used this synth because it is very simple and doesn’t have a wide range of sounds that can be made from it. My aim was then to create a varied and interessting piece which explored the potential and variety that could be achieve by manipulating a basic and limited sound. (http://kunz.corrupt.ch/?Products:VST_TAL-BassLine)

The piece begins with granulated basslines and strong sweeping high end wails from the synth. To get this effect I used ‘buffer override’, as well as automated reverb which draws the piece into a low end atmospheric granulated bass line. I used a varying LFO on the bass line to give it motion and character. I wanted the different musical ideas to evolve into one another throughout the piece, which was made easier by the single sound source of all of my samples. At 35 seconds a single simple analogue tone is played. The tone is automated with modulation so that it grows into a chaotic high pitched noise with a rapid LFO. This is done to represent the evolution in the sounds.

The common theme in this piece is the evolution and transformation of sounds. Ixiquarks was used on various synth phrases to create different texture-rich sounds. There is an example of this at 49 seconds when the high pitch noise evolves into a granulated repeating phrase. The single tone at the beggining represents the basic synth I have been using. This eventually draws us in to a low pitched repeating phrase with entirely different qualities. At 1:28 these sounds are led into a manic high pitched texture, that imatates a swarm of bees. The wailing synth sound is then re-introduced and leads into the final section. The final section is a collection of rhythmic bass swells which grow in spetrum and leads the piece to its finish.

This piece successfully explores the possibilities of a single sound source, and provides interest and structure to chaotic sound. The piece creates a lot out of very little. Even with the limitations I gave myself I still feel that a varied vibrant soundscape was achieved. This piece was also mixed in 7.1 surround. THis allowed the various swells and crescendos to travel across the 8 speaker set up adding another powerful element to the pieces evolution.

In my first piece ‘Xenu says’ I mostly used samples that I had recorded myself, which I then manipulated to create an effective interessting soundscape. The piece opens with a collection of tonal strikes which are recording of my ‘hang drum’. I used different effects to explore the spectrum of of the sound, such as degrade and granulation. Different vocal recordings were taken from the internet and were used to convey the meaning of my piece. I used ixiquarks to manipulate the vocal recording ‘You don’t know the history of psychiatry’, to make it sound like ‘you don’t know s**t!’. Ixiquarks was also used on different loops and synths to create the eiree hypnotic sounds which give the piece texture and and depth. Reverb tails and echo are used to draw sounds out and to create space in the piece.

In this piece I wanted to have a constant atmosphere of uncertainty. I wanted the piece to have hidden ulterior motives, so that it represents my views on Scientology. Hypnotic effects and sounds are used to represent brainwashing and a darker purpose. To create this atmosphere I made the piece unpredictable with constant crescendos and diminuendos, which made the piece the soundscape wax and wane while evolving into it’s powerful and unexpected ending at 1:44. I allowed a great deal of space between musical ideas so that the different sections of the piece could be concentrated on.

I used a lot of automation throughout the piece to give my samples character and shape. An example of this would be at 59 seconds, when the granulated vocals change into a totally different sound which leads into a tonal strike. In this instance I used the effect ‘buffer override’ to granulate the vocals. The part that follows is a drum loop that I granulated using ixiquarks. I used a rapid panning effect to create a disorientating atmosphere that sounds almost like helicopter blades rotating at varying speeds. In the ending i cut up samples I had been using throughout the piece and repeated them over and over again, with varying automation. I also added a heavily automated repeating bassline which gave the ending a dark and powerful rhythmic motion.

Overall the piece was very successful, it retains interest and purpose which exploring different sounds and ideas. The piece accurately conveys the message behind it, my views against the church of Scientology. I used 7.1 surround panning to move the piece around the 8 speaker set up we have been using in class. This allowed elements of the piece to be focused on, and gave the piece extra depth and movement.

My first piece is now complete and I am well on my way to completing my second.

To make these pieces contrast with each other I decided to go about making them in totally different ways. In my first piece I manipulated different samples I had recorded and collected, and used very little synthesis. For my second piece I am only using sound from a single, simple analogue software synth (TAL bassline). The synth imitates the Roland SH-101. I will use different effects and processes to create a piece that has a wide, active texture while only having one sound source.

This week I was able to perform a first draft of my first piece, ‘xenu’. The piece included quotes about the cult of scientology, which I then attempted to relate to the soundscape.

Scientology is a dangerous cult which preys on the weak minded, offering them a better, happier life in exchange for vast quantities of mandatory ‘donations’ . The creator, L. Ron Hubble, was a science fiction novelist who has been quoted saying that the real way to make money is by starting your own religion. There are more ex-scientologists than confirmed members of the supposed religion, most of which have very negative experiences of their time in the church of scientology.

I used several techniques to represent my attitude towards, ‘The church of scientology’.

I automated a breakdown of pure tones with degrade and granulation. This represents the hidden darker potential of what originally presents itself as calm and trustworthy. Striking tones bounce around the soundscape in a disorienting way creating a sense of unpredictability in the piece.

I used ixiquarks to maipulate a recording of Tom Cruise so that it had a different tone. I stretched the words apart so that instead of, ‘You don’t know the history of psychology, I do’ , it sounds like, ‘You don ‘t know s**t’. This is intended as response to the original statement.

When I played my piece i noticed alot of things about the mix which were lacking. I felt that there wasn’t enough exploration of sounds, and certain ideas could be developed in more detail.

listen:

xenu

My myspace is finally up and running with my own work on it.

www.myspace.com/thenerveagent

Another useful class in terms of feedback and guidance on our pieces. My first piece is now well on the way to completion. ixiquarks proving to be a useful tool!

On Friday I attended a lunchtime concert in the Mumford theatre, where the bafflingly dexterous Nick Collins performed an impressive set on solo piano and laptop. In one of his own pieces, ‘Detune’, he used diffusion programmed through Supercollider to move detuned sounds across an 8 speaker set-up. It was very effective and the techniques used have shone some light on uwehbd

This week we brought our own compostions in so that we could have a chance to diffuse them in the hall. We were required to study techniques in the compostion of sonic art, and to take note of the purpose of the pieces we have been studying. Unfortunately there wasn’t enough time in class for everyones piece to be played, and I didn’t get to perform.

Here is a section from my piece that I had ready. (and yes Julio, I have every intention of granualting the hang drum)

acousmix1

This week we diffused existing pieces in groups using the 8 speaker set up.

Our group chose to perform ‘Vox 5″ by Trevor Wishart. THis piece is part of the Vox series, which consists of 6 pieces. This particular piece uses vocal recordings of african ululation, which is a vocal technique common in tribal chanting. The piece contains several tranformations, where we see the vocal sounds morph into other sounds like the buzzing of bees.

This piece was written with diffusion in mind, and Wishart would perform it on a speaker set up similar to the one we have been using in the recital hall. The soundscape he created was made with diffusion in mind, making it a perfect piece to attempt to diffuse in class.

The transformations were highlighted successfully with diffusion. Our techniques still need alot of work, but I feel that we are getting alot better at making the sound travel around the room.

By next week I hope to have a short piece perpared for diffusion using the 7.1 surround settings in Logic. I will probably use existing samples and synths to complete my piece

The Hang drum is an ultra-rare percussion instrument made by two people from Bern (Switzerland). They are extremeley expensive and they take a very long time to be made. Fortunatley I have put myself through hell to get one and it is worth every penny.

The Hang Drum makes the most beautiful sound I have heard from a hand-held instrument.

Please watch:

Well Hang

Hang drum solo

This is just a post to say that if anyone wants to record the drum, or use it in any other way for their course, then please don’t hesitate to email me:

thenerveagent@gmail.com

watch?v=3T0WVNTlZxU