Gravity Sound now allows a user to determine the cutoff amplitude for each string. A pfft~ object then only allows frequencies whose amplitude is below the cutoff value to output. This is useful when a string has modulation, delay, reverb affecting its signal and it’s volume begins to overwhelm the rest of the strings. The value for the filter cutoff is assigned to the absolute value of the string’s x coordinate. So whenever, the string is directly parallel to the camera’s direction vector, the filter cutoff is 0 and technically no signal should go through for that string. If a user has a string selected, they can toggle the filter on and off by pressing the filter button. Each string can have it’s own filter cutoff, depending on its position.

Value from OSC determines the cutoff amplitude

The following video shows how each string’s convolution reverb can be assigned to a different impulse response. The dry/wet of the reverb can also be assigned. If you look carefully in the video, when a string is selected the left menu will show what impulse response it is using. However, it will not show the proper dry/wet value it is assigned to. If I assigned the string to 40%, deselected and then selected it again, it may not show 40% but it is actually still assigned to 40% until I adjust the slider again.

Impulse Responses: 1) I placed a mic inside a giant singing bowl and recorded it’s decay after being struck 2) Dropped a large flat book in a shower 3) and 4) Stuck a spring in between the piano strings and waited for it to explode out

by Anna Gusman and Kabir Mantha

Our piece explores the potential of design, and in particular intelligent environments, to be viewed as theatrical spaces, and by doing so questions the sociopolitical role of speculation in both art and design as well as their relationship.

The Product:

In this piece we lay down the framework for a speculative collaborative environment, and by this we mean a truly collaborative environment, not just an environment to collaborate in. An environment to collaborate in is a phenomenon that is quite common around campus these days. The bottom two floors of Hunt Library are a great example of such a space. However, a collaborative environment isn’t just one where you go to work with a group, rather the environment itself is a melting pot of ideas and inspiration in which people are constantly listening to, and learning from one another. The common anomaly of seeing someone sitting in a so called collaborative space with their headphones on, completely defeats the purpose of the space. Yet, sometimes you genuinely do need to finish writing that paper, or documenting that project, and being completely tuned into a space is just distracting. With our current technology, this is either an all or nothing decision you need to make: you can either put in headphones and cut yourself off from the world, or not. This, however, does throw the baby out with the bathwater.

Imagine a way to reorganize and customize your sound field so that you can keep exactly that which is constructive within earshot, while getting rid of all those noisy or distracting elements. The people at the other table are having a fascinating discussion about particle physics? Bring them closer. The person beside you complaining to their best friend about their mother? Get rid of that from your work flow. What’s more, we have a tangible interface that allows you to interact with the sounds in your environment by just moving stones in a little zen garden. This way, when you put in your headphones, you don’t have to completely tune out of your surroundings. Instead, you could focus while still absorbing new ideas and perspectives.

The Implementation:

To realize this idea, we experimented with ambisonic sound processing in Max and how we could relate this system to a physical representation or tangible interface for users to interact with. Using Max’s HOA library as a starting point, we began to construct the framework for binaural audio processing. The HOA library allowed us to map out our sound sources (in this case, multiple microphones) on a cartesian plane, giving us the ability to select and reposition sounds from the places we planted our mics. However, because we did not want our user to have to interact directly with a messy and complicated patch, we worked on finding alternatives means of sound source selection. Using the cartesian plane as our model, we milled a wooden basin at the roughly scaled dimensions of the media lab to provide a tangible surface for user interaction. Emulating the style of a desktop rock garden, we included sand and rocks that would come to represent the sound sources that users had the option to manipulate. To relate this tangible interface to our max patch, we used an aka.leapmotion object and programmed the X, Y and Z planes for receiving leapmotion finger data in order to capture the user’s hand movements when moving the rock sound sources around. In the future, we plan to improve this interaction by replacing the leapmotion interface with one that is embedded within the basin itself. We plan to experiment with a system that detects pressure or relative space rather than fixed position.

Our setup for the single user product experience included a MOTU, 4 Sennheiser receivers with 4 lavalier microphones, the rock garden with 4 stones, a leapmotion and our max patch for binaural audio.  

After completing this tool, we thought about the possibilities of extending the scope of the interaction to incorporate multiple people, even an audience. Immediately we thought of incorporating the 8 speakers in the media lab into our project as a way to to do this. Several changes that we made to the patch to accommodate this was making the output 8-channel as opposed to binaural. We also smoothened the patch presentation so that during a performance we could easily activate and manipulate the levels of the sound sources around the room as a two person team. While one        person at the rock garden had the capability of moving individual sound sources spatially (as that is all that our leapmotion interface afforded), the other working at the patch was the person selecting and monitoring the sound sources for the other to use.

The Performance:

Starting with this prototype of a speculative intelligent environment, we started thinking more about the social and political implications of such an environment. First of all, how would people even interact with such a space? Why would people enter it? The person wearing the headphones in the description above has an enormous amount of power over the others. He can amplify and silence the others at will. The only way this is a viable environment is if everyone is given the potential to exercise this power. This implies that this speculative collaborative environment would look somewhat like a computer cluster, except instead of a computer each seat would come with its sonic interface.

Secondly, we realized that this could very easily devolve into a tool for being nosy or spying, which made us wonder how the expectations for privacy in such a space shifts. In such an environment, where every word you say is potential inspiration for someone else, the idea of privacy and personal space becomes very different. It is almost as if by entering the space, you have agreed to your words and ideas becoming a part of creative commons. This kind of an environment may sound extreme, but you give up your data to strangers on a day to day basis. Every click of your mouse inside a browser, every photo uploaded to Facebook is another piece of you beyond your control. Our environment is merely an amplification of the existing invasion of privacy.

However, for us the most interesting implications were the political ones. This device could enables people to cultivate selective hearing. This has astonishing political implications. The user gets the power to silence entire conversations or perspectives just by moving a stone. This could very literally lead to an echo chamber, an augmented reality (or rather diminished reality) in which all dissenting voices are silenced. However, this too is just a natural extension of what the filtering and feedback algorithms of Google, Facebook, and YouTube lead to.

We wanted to use this speculative intelligent environment as the stage for a performance that highlights the invasion of personal space and thought.

Through all this speculation, we realized that, while our hypothetical intelligent environment is far from anything we have right now, the underlying principles and consequences are just continuations of trends that are already well underway. This leads us to question whether the narrative of inevitability that is so often associated with technology is real, or just an intelligent design decision. Another idea we were exploring was the relationship between speculative art and design, and their ethical concerns. A particularly haunting example is that of the dystopian science fiction novel Neuromancer. This became such a cult classic that much of what is known today as cyberspace is actually designed around the speculative reality that this novel was trying to warn us against. Our piece serves as a commentary on such a cycle of progression, while very much partaking in the same system it references.

Max Patches

Binaural

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8 Channel

<pre><code> ———-begin_max5_patcher———- 3235.3oc6cs0jiZiE94d9UP4JO5wgitvk8ob4gr4grSpzyV6kIS0EMVsMYvf W.2yLIU1e6qt.XrMfkTaSOSxlK1Xg.Nmy2mN5HgNp+sWbyr6y+.qblyew4MN 2byu8hatQVjnfap+8My1D8g3znRY0lEmuYCKqZ1b04pXenRV9s+iu+0e6e04 a96u90u5ucayoSVJOY98+xKQdMEtMpJdcR1p6JXwUpmMJ.uvcN+Kh3K.Bk+x cgqyaqunrcaRxRYURo.1WX9tplRcqKsr5ioL4yclnfe+EuP7w7mpB95u9md8 Wd6qe0O1nj+bVOpI3NhZ5Qj5mmGHUSh2ymZduT7XEMR6iIr2+XRYx8IoIUer 6SO+gGJY0JfqPf6Juo4wuisbYQzpx3h7zztBXbZR76pVWjua05tkyxhtOks9 zKPchGO8D2uZS9R1AkjWrjK7cJoKUyeLplmjbgAjBC7EeQfgvflaeVzFkw91 7cYKui+YQL6tuccT1JVwBtok+nl0Kd0ZGkEU8wsLkfLalya++.2g.GcDfi.3 Ez4NTWprUCR5w.BnZib+Px2d22mscWU4n3EYH7pLYUVT5r4idjUXZF68b0+D WNo4QKumSv5wMiev4cy3ij9W7bU1Ky7xLHqUJPs2omlSnAz6sErsrrkN7mTJ u2odzdeMz9PuEdHNgIDeQ0+KktugUVFshchx6535Pn7OBEGAXwgPf3XDRbLx WbLFDGy+29rNdZXc7PJqCxyebyC54w7LT2ve8tkI4+b1qx9xW8vCMmMMIiEy 8KW0Uf65WA0TyGxypJS9UobAvBZHEB7GwZI6jHf3t.DFKpz1gQ10gsPGhySy KZbIiAe9ieduG0sCoNVxNpQqesutHg63wBaL6WWFE+eatmGHZgHJITJOdDeW O4QD.78NTx5Ziwiv5BEdtCvXEmiH8fSnmixw6iJJ87106WcfnGPwtD57dOZ. qpE1tsQYrz9BykzTX45nk4uWbhWBivvTVFWkkAPRm0T3bLLU2nGn2HLEERlO zQcue8XDKDg0vj5g2fzti6LW5fVVvhA.CUTG6+f1JFaKx2lWTkjmotA3PKPg zjGYKDs96AI7FqSBfJM73PYvfpXAQfcsqUde51tlP8ck7NrOf7vxiBCnf+gL v8wBw8DUW1urqrJ4gj3nFKSyyNpnH+8Jo4B5N8e1igiPszaIl2KBBy+GtdR4 bXIiVYfCuTtL0zzdsbYNFgiLV+tXW4X9nTrzrffFd2mCLNzkMlVQnONn9hbI z19oEMl8w0wz36pWy40IKWxxtTw.dQ4Y63sV20iEBOZjuRqPSjcfqlA9uMpf KuUrh6Tii6fAOcfAAOjAIQ3ZQXCF21jTw1T1NNhxjXwELW7AW4+IV6uRx9w0 Qkr82p6W8PRZpjxeWyic1phnkIcbp0sRxOg1lGsQyPntgp3r7UkcPqiiuAn8 8sFh.YTPhqxEIOxOffgybGZuAgtPnJLJt.3RTGwKZjaPauqH+t8utuBm1EZe 2kcU4sVJQ0tbskWmGsPDAoC3fbvNDGpimiuSP2lBODEyFXz9Ta6mgfoxnl7I 0Lc+vwavGn6DocQaCOhUCubwRtGbtuXgw6qhWGkwCmrTeSG4IZ5P9ZZ5H8Z5 BdRyQxbsmKkmUDJeaUxFA9z3NpGb.dZ3P6jTXIN7TmqpmU66lnsBqKoO6J9I ZWoj+HaWEFPt0qcJfiJZumhSgV18rc5GREzY2OZE0y3vwqeGN66WpuYZWNwa DjqJhWuvE9seOdDIkQOdffv0lVELNIdyrQhbALKxkzjRYnKG78AVkifqNh3x 6hppJRteWEa+Qk03VMvIPmzcr7GZJto7tReZd1pdPv2Pea8i6fZWtl2o+v.9 A0sQSw8btjrjJtFcpsquZUattqT8hO1VvJYU2sLpJ5NIyWVL+HP9eujSsPAT eUzMtHb.+HdfnfGBKh8QF+T2Oj7wYGbmPx6j6hvPWhXdmdI+PR8g7akanut2 IrRrDmfeSbATXfZbQnPDBz7lz7vN7iSJomqjZ8U5Y8U5a8UFX8UFZ8UBt1eo f8WJx9KEa+kZOQBrmIA1Sk.64Rf8jIvd1Dxd1Dxd1Dxd1Dxd1Dxd1Dxd1Dxd 1Dxd1Dxd1Dxd1D1d1D1d1D1d1D1d1D1d1D1d1D1d1D1d1D1d1D1d1Dwd1Dwd 1Dwd1Dwd1Dwd1Dwd1Dwd1Dwd1Dwd1Dwd1D0d1D0d1D0d1D0d1D8ID.t8rIp8 rIp8rIp8rIp8rIO6YSd1yl7rmM4YOaxyX1zcqJx2s8jA9JKscbuy.w60Z3QS 1TakNOa17ddE4GUUr9UkneUo5WUO8qpu9UMP+pFpeUqGHod0ELntF.XfAHFX .jAFfYfAfFX.pAF.afA3Fx.bCY.tgL.2PFfaHCvMjA3Fx.bCY.tgL.2PFfaX CvMrA3F1DGjFfaXCvMrA3F1.bCa.tgM.2vFfaDCvMhA3Fw.biXROaFfaDCvM hA3Fw.biX.tQL.2nFfaTCvMpA3F0.biZRHIFfaTCvMpA3F0.biZ.t4Y.t4Y. t4Y.t4Y.t4cNbq4MjczqJRlHJ0uKI04kuYylutLu93x3nTFWP3wU67RP7M++ cW302xkZrDJgFnVCn0YBDJb7kKk2yyBge.iPgy5nrk+69zYuyqyHUZOQQiqx teRoxlf6nwRjHUJP74Lt22x1ECmWmavc7mS391n24nF3tC1INpnhUlDk4HA+ 9VA9gisLbUqGDQtjIvdZv3FB5yig3gzb9SrOLdDUKnNaRkpDUy094C4Eahp5 Ry0e0fhFzLLeRRSrxAcAhFqo.3KsPXrpo.wlrCy85qW80DGMVxEiPJ0pdcl+ 7oVCxdgfyCKnP2+vweG1fDdV7rNk3+SQ6YY+6bRN2yt7CX.O7vXQ3.pb1CQg E9gggAhboCg+bpK9SrCRSQe1A54oOeFXFFt4A47Yv0eD6uaXCB97.9ed5+eW 11n32ohCb.GEvYsWfurQQPnM8WN3pJkifQxkS5QGbkyc7u.67EDmuf1WpUcd KAQ0y6ml4C9PCGh+.YNaiR6q4B575rZyjvtbfeT9+0NO3ushOPn9xVDnmlA9 8t3sQis3sIJ6iJXxfmx9TyI4vYXfGQ9x2V3FBAxoZZA3QBON4xm3rR3+v85U jyoDNeUTbUxiLGnGNUf4lREUiTmwmvEs40ftYunVrp7UhTQqIgBVyD6cL5kW Acygfy2bDZHZ5P2zumJn+jSWWhXuo63HF8cYmZhNcZTuj6TLQuKZQJKZ6lbY 1.1iK.aosptGCQW+8PEsXrxKTl+yGsqkIU.YhYefwqdAendr0sec1qDKYkUI YsY97aZMVcpy9rDtwXsLoTv2VNb5TpqzHR34yJNhb9sW4At7xiNlGw9KyTYe 70PdDIC4nxyljkay4sYqoLdTrJGHqSTZhZ+Ho926eXWNsvSGqp+zYU0oMvz0 HvinCHiMCjwHYd.RBVD.c.4lBtBnrNfbvjYToZYToSq7.5HOvzIOHcjGzzIO XcjG7zIODcjGxzIOTcjG5zIOd5HOdSm73qi73OMxCVG+OmqSlC2CMNZM0dE7 gKkZPGoFzUpOXkDeEkZjNRM5SMaMVGoFqmTCmrzsuFRMbIhHcxs0fN7ZxmZ7 ZPGdM4SMdMnCul7IFuVNHS3o5u9nfvUuhF+vCGnU8uuFJgNwfimtfdO5Q0u7 HVuJSTPTXjtxyzDjIVGmoGIzWS4Aoyzw3Y3zMfCBVrm7igvd9kanbORQMnU0 utBMOP95B+f9pGxWodtf7KjZ+MT9yqgJPuDyUvEVd.cjGX5jGjNxCZ5jGrNx yz3wQGGfS2DwA53uQrnulJ4Qmo+EMcyLHnS+4vzMoZfNdeNBTupxiNSxGLcS WOnyf9goK9KPmg8fmVw4bNmAxzJOmEtlP6iNderTZTu3vnsaejUTVeKkBxrM Q+hZjVxsUPd3MYpeJeS7yJXhbZQUe4pAeVTQ75jJVb0tB0Ko7CAp2rsb6QuH aWRc5uvMAun9MbdzKqb+62T7Wyfaqhp1Ud2Ozti+xU8Gh1kVcn4pyl55wawb saItpyVmZNGMx2PBz7mX.rORsWzJ1EbocZhTeMsabtj1c6VhGxWsW5SBPXYN fsebn0WFxvc61Naf7c1ha6aqgus98sY11lbQyqYaE7yd7KVd1FtAMo4Z5xNa AC06V+aR2wZdc48CDQww7Gvw+kbvSlefK7ZsXghhZT3Kn.9cELVlwRnb1Cnh MmcrZYND3g7u7B2+hkll+9wkttKAg2HWDBzPW2f1F08H8AH4VYt6B+.HPshM ngz1+hNbYTfcatmU7c4oKM13529GICZHBjIb3BnKe2bAjeM+9K9e.jWi88A ———–end_max5_patcher———– </code></pre>

Sound Source Switcher

<pre><code> ———-begin_max5_patcher———- 556.3oc2WFsajBBEF9Z8ovv0ta.jYXl8UoYSCpjVZTz.X2ooou6q.5LSarpM oNQ6MZ3ebN7+cDOG30v.PZ0ItFD8mn6hBBdMLHvIYEB5FG.JYmxJXZ2iApZL EbCH1+ShbuX5S+BcnWrlYxdTHe3dEOy3iMBs+2v3HLMwdKA1eM5uc+GYSoP1 FX2jftH5mNmJrSUadof6l19ILqprjKMdMqzagg1KwyjII+esDzGMC+jOTEUr 7RtVGQFBW5H3tyQKBevdihcni+Zz1q5kLuTy8gF.NGkqRDK.zICA89ogFh1v PiGB5cSBMkrgYFMDyjIYlPWyL2TlxUCAVxHfgot0tH5Q6scv4gVMSwJ4Ft5d tjk5MMbPrweJ1wQfTl7gkGe7XEoOl7SGezX3i2+SGe3zku27zm1XLUxAner8 mjPbK8O5piiOecB3Ubc61NXFQ6780q08oPOP3e2Vo7ekB+nU+NyUi0mOAR2J 4JJc4SUjQanf2JoJBd4SUi07ASfalu.gSlpbAETHje7vUNxs5uO+oqZTY81p qXUzE3y4ZiPdFy6trWlqdnGE44b40UfyEZaQY2K.3fuHmqc1OG6fuY1gLG6f tY1AOG6.uY1wdzz0zhGzJa0i8.cqokOHxJa8Sxb7ygamevqL+fVY9Atj9w2J iUW+LWo6hoyJsM8epRYGRicCER+P2V8AJ9yh9memSgoZa5aZai1n78YOcvuO SPYUNWIaDtt0g1Y9sv+CYx.rbA ———–end_max5_patcher———– </code></pre>

I made a granular composiotion that takes data from the built in camera and breaks the pixel colors out into control data for the grain size and playback speed.

I then use the connect to change the pitch of the three grainulators so that my movements would trigger chord changes.

https://www.youtube.com/edit?o=U&video_id=5SF_wE7jdbM

For my project I used Max to turn my Novation LaunchControlXL (a midi device with 8 sliders 24 knobs and 24 pads) into a drum machine that can be used for live performance or just recording/charting out ideas. I turned the 16 pads at the bottom into a step sequencer using a pretty cool system, used the sliders for volume control of the individual channels and the knobs for individual drum sound design and master buss effects.

I’m very happy with everything I was able to do and the product that I have right now, but there are some things I still want to add to it. For instance I wanted to be able to make a system that could do polyrhythms, but was unable to get two transports to work at the same time at different tempos :(. I want to be able to send midi out to the launch control to light up the step sequencer at every step, and I want some better/different effects.

Other than that I’m pretty happy with it, and hope it helps me create some cool ideas in the future.

P.S. – I could not figure out how to upload audio files to github so I just put the patch folder in a google drive folder.

https://drive.google.com/open?id=0B-Zy9oeEXbOwV29lSFJwZkVaMGc

• Gladstone Butler

What if we could walk through a song that has been broken down into it’s individual notes? What if we could change individual components of these compositions to make new ones? How can we literally immerse ourselves within the things we listen to or create?

I am fascinated by the possibility of engaging in everyday experiences in insightful ways through new interfaces. I see the potential that a program like Max has to facilitate these kinds of interactions, whether they be in ways that are expected or unexpected.

I wanted to explore re-designing or extending the quotidian experience of listening to a song by first creating a “landscape” as the primary interface; in this case, an audio-scape. Referencing pieces of the Hoa Library,  I use the hrtf/ambisonic sound processing to establish an auditory domain where individual sound samples can be uploaded and listened to in space. A motion sensor (Leapmotion) is incorporated within the interface so the user may move these sound-emitting objects around them in the space. I had intended to use a third party software, Wekinator, to train my system to interpret specific hand positions as selection commands for the sound objects and specific hand motions as level controls for pitch and volume- however, as I was running into some issues with correctly delivering my OSC messages, I was not able to include my data for it at this time.

I am approaching Project 1 as an additive precursor to Project 2, in the sense that I’ve generated (though imperfect) the sensor-controlled ambisonic sound processing system to be added on top of another environment. This environment will be a unity-modeled virtual reality simulator that visually manifests the audio-scape I’ve created in Project 1. Ideally, this system will allow the user to handle, re-locate and re-pitch audio-emitting objects in their environment, making way for a new kind of audio-listening experience.

Main Patch:

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Patch used with Wekinator

<pre><code> ———-begin_max5_patcher———- 2522.3oc6assjihiD84p9JT3XeX2IplQ2PBMO0SD6ev93za3.aTUEciAF.2c 08Dy+9lRBvfs4hc4xsqH1oiwEHgDm7joxLIQ7W2e2hUYunKWf9Mzeft6t+59 6ty1jog6pO+tEaBeYcRXo8xVjp+V1pOu3AWWU5WprMuMJuTmFgRxVGl7bVYE Rv4AMWVY02Sz1qqokzsahSSzU1IkrqwrsUMshqaMOrZ8ywoOsrPutxAUth4g e.wjRyeHL6enTOL5+VOn3H6sCf5Gj7El1966u27yCuN4LuPmajye8a5u7qwo 4aAr9ZDxlVcMU88bsSBWrnUTFQ9Ybq7SBFU9Ymi7+XRFfzgksGyJ1DZgiX9R KcPo8AzhUgoOMpTSI9d9sRsOdTgltnchJB2nqzEK0ogqbRA9xYP7iDTYR7ZM hLS6.5oyLiyJRGQHUVVY7kB3ywTXitrL7I8AhN16UIxmmoOEKMFATtuUPU1S FPbEAWVwEQnABh8WDgGf8EAnOPBTdBdffBcPXdbEm6yPDL0iJXlK.64KTJLE AGnvXpz1jjnvPmJJ2SJCXTTfz2KfwHJBx2r71mSTJ313wHvMhh3LOeb.wLOV DP2GGJpmOzsPgTROk.SCTHvnf4CKXb2RIVILn.qfkRllDr.d.CFKwGtOHAb2 DLLIH.A2TOoO.VeCD.vDHYfaGXRX.pbHfsOBDAvciKCLBimhi4XowfLHHPRr PfIwRE2.AFlKrMIETFgBCFvqmjywDEhQwdTphyHFnAN2.dfAClSv.HjdBgvL gNTv2GE7.OBbg9Tjj3AGvYJju.viDtPysz..FgAjs4LPiRfavGTJtGgQIbBR Q7vRICTJefARuzn1.gk3YHFI.DDtw5HINUuNaap0DgvoW+EDLoakfzFDfYOA LhFZIg3BFLLL2FKb19Atjg.UxNwBD7w75IHuAI.Tpq9IH0DvHzu0Yubbw98u ydemzFvl1Wu+kzvtBsBk7pTuCFO2lkyTwzk9NQ0pkYilnCScNx85rMazoUGH 3+mpvhpwR5Ks5wv058j6CICyEVF+C2EBH+TSv24Fy4Yy2kcK93xOQ1EboPpd 1t98h3vjth25rjrB2ji8TPXCB4A3Hrh.GaNhH3Jo.7cZtOmAktZaUUV5aiOg ISMtIH.A2vUCyXT9kzuPgd9dBomh0w45wv8Hg9b2CHN1RGJ8jMcH1Iu6OsS7 SEgQwZWh.MRzpmNMyt1g8XbRhcnKaD7cy+QtH6ujWysw9KsYFDA9Or2eFcfM iipfz2Dlwvvp.L2cDzDY3I.Lsc1LtGj4vKHuHKOqnJFVbYnVOl5Xyx1prdZ. Oo5BFzG803xsgIfMawags9Xk5P3xnKvtlVRFyflOs8r8NnKpofZN.FPbh9q5 hxZRtds2clL75z7ccFhg39rSyKenso3TWSz1lJz.0UOd+1VCK.4rBDxsENP9 RfXwtoIKRWjtM1BEWifJ79lIrMJIwRM7.WXBgKZoniaOiMRR15uni5vxfKEH Ct3zbiqqzpvVKqltizOFtMoZ4wUc86uIZ3Q67np.imh3nrTCH5w0llatcfmF mZ2uqvXuhzv7iLXP8C7x.cVBB41xUgEFUQcIPZzPKpxxR52U63RzOVU2cdbZ 5drXUV9vcVD+zyiL1UYPmaFats8Ttbapq2kvRzpkkgesOaWEljTuls+z+RXZ 7lvJcUrSEPwsc5JCzykqKxRR5Iutd95Q5IBrhWq+VbT0yNuKcz2vkGm2XDsn UKGE+jtrpeaUgOU1ukC7h.MscU8pzkU5M4IfTz+B5Uy1tKI65cqW664ky5kp c41QQwA9yv863v.0SDrdv5432ZnCN1Z+s2v5VAqt.rIKVKvaZ15wu1kwYxO8 hBzORPRVXjIUHTbJnfhqVVUDlVZJFZaMANrt.zSip6RnC3C5RqEXX7Ns.w8G FaX0fXwdXbOWcWGkwmiq7dJwy5V74vbMJQGli9n6XXgSpF8w7rjuuzDPAQf+ 8whLvWn9ku+CjBiv80YuUpF5XpFPFVBNpJheo2SENXA.bk8lUqhTGjo+AI49 dUSkmUFa7pZJyG5Cj2oJJpK4DVvjJJN6lPS0szG+7H6CpRxDzrac.SMEIy32 Dj7W0ujWf9GORP+hIWBLcwMeDBpqnB0OGBASljpuMrmapWai6j2MLccsbTSa Sea3hu8EgxNQJldw8dLKOGMFzNGH0u2zwBjFbKGI0VEDHPoIolOVtNLQabrv 67yGSLORlgCbOliIFa4lrrpmWBSTDzgoEScTfnbwq+ImN6aQnXdcpSxoxtkJ udp590UsutVWDVpuFqldsO7vtPvbWcQCFgbuod1gmCSiRZVDEBOWM5mellyy 8k64lENmX7fIcewukn8BHjrtvR6uex0j00MhRLIieaj.TAHvZzilMA0xRyq2 q9XSRQOBBXaEsmqFfeNZ.9jF7OLSCemVn1te5rin3+e1Qmg6EhaWkQbIIIlj lIWQu52RkujgOkpWxNkpWtqt+lruFnfuVHY5+37VY11h0MBSc8SQ8gWjtDxJ r8sf7G6BWr2E9bbTjNcexLJtzjMYT61pbRk7oBYw6OHy3yEyxaKLSlAlIhaG LylIOadF4aELSeGZaLWHiuYfr4w0mmoA61Ayy1U2MDl4uCwrwLkNGaC9sElm EOKtsvL48ksgM51rvbvEBytcaX6NbYgYSNDszsgNVFVUUDuBdBtx82xNmzFO 3ojrUgI0aqf1LyGaWHraqJb+N7dY1MU+4FcUQFhfupaavI2Ck0u7arqtJ9is QqBFYiVcF7TU1Sl8.2os0QAMoYiMMuMm3YtQDmI0FadJllwrM8PjYeHod+Ls hndGsN5VYUbk9HuB+RnmoVUax57Jjlqh5Mb2tVax51szJ5XlrjKqI6Paf7+c XUHBDh7sUnrhHcwu8ozOk1o5S0m7oTSkW+mk+qOkhf+yUHp1SyCS13NB7Zkz LdcZzQ+raTuA5iQ1Ql9tu5Tm8YcARHT4.6w3KKsOf84.03CY33Zt0xoV5Dc. aNAwEbJDWvneHiC8+yvH28hm40ui+grxEyiusisecUbz+9oKTqDNrnDjtQ+G HEA+d4RbX5AK1DGkmAdOqAAA6d0TAtuqGt8Kbp6ITeU8t.t4jcHX+rLNvx5h JZhyTzbqc39rCOi5h4xwXqzI7eSjtfYHb8IfCksKGZjrY.GI+5gmdYrODdXW W7LI+PuZ3QDbIV1eAwiXN7C95wOyQeItdqulC8Db0Piu31hcXpYrZWfut3YV qttN3oessFheBtwvyUjeny.O7qlyPaoaXS.m8rwdywiXB7PudA2IyTagmeZc tzRIBWdbxcm8Fj41bfO4bM9cOPvdetaFjr2m41dehaG94sM7m119eVavc9uu ++IjoISE ———–end_max5_patcher———– </code></pre>

For my project I created an experimental performance environment within max. I combined pre-picked audio and video samples with live performance and live manipulation.

This project was largely inspired by the culture and musicality of Javanese musicians. All of the audio samples I used were field recordings from around West Sumatra. The demo I made begins with an Islamic prayer modulated by an FFT Delay, and moves towards ritualistic dance music with freqmod paramaters all the way to cowherding and rice-planting music on a multi-band delay.

The music I performed live on top of it (in this demo at least) was meant to enhance the experience and not really stand out too much. It kind of felt like I was just jamming with the Javanese people when I did it. I performed on a vibraphone which is pretty noticeable in a lot of parts, a djembe, a tambourine, and a gourd with a hole in it that sounds pretty awesome. The live looper I made for this part of the project was a big endeavor.

Originally I had planned on doing live DMX light manipulation, but I decided on a video sample of Indonesian people jamming somewhere in the fields of West Sumatra instead. I equipped it with a kaleidoscope and color manipulation parameters to make it more interesting, the parts of the video that you can make out are really the most beautiful ones. I have been messing around with the color parameters in my run-throughs of the piece but the video I’ve been recording keeps corrupting. I have included the patch below so anyone can have a go with it and see it first hand.

here is the most recent demo performance:

google drive folder with all the samples and files: https://drive.google.com/drive/folders/0BzJ8e5y3EPeuX1VLTnlYalFDVmc?usp=sharing

here is the code for the patcher:

(Warning: This project contains explicit material)

I was really interested in the idea of reversing the spectrogram to sonify existing images as a a way to talk about or refer to topics that would otherwise be taboo. For this project, I used the spectrogram max patch that was part of the PhD dissertation of Tadej Droljc. There was a lot going on here under the hood, and a significant portion of my time was spent in understanding the inner workings of the patch. I then adapted it to take images as amplitude and phase input, perform manipulations on the matrices and sonify them using frequency domain processing. The images I used were some of the iconic nudes by Robert Mapplethorpe, one of my favorite photographers.

(Note: I tried implementing the contrast boost in max itself, first using jit.brcosa, and then using jit.expr and a formula, however both ways didn’t work properly because I was dealing with matrices with single planes rather than 4, because the amplitude and phase information were stored in 2 planes of a matrix. In the end, I just ended up using iPhoto)

I then recorded one loop of the audio for each image and stitched them together in Adobe Premiere to create the video documentation.

While the timbre of the piece is quite static, since the whole thing uses only sawtooth waves, I found that the contours of the sounds very visibly mimic the contours and contrasts in the bodies and poses of Mapplethorpe’s models.

For my project I put together a composition that I can perform live with Ableton, MaxForLive and my LaunchControlXL. I recorded some loops of myself playing marimba and vibes, and that’s what the very beginning consists of. The next blip bloopy kind of instrument was a product of FM synthesis and the FFT Delay we used in class.

The voice sample is just something I found on the internet. The point of the composition was not really to hear the speech but to hear what was happening to the sounds. My intention was to add effects and modulate it in such a way that it morphs the concepts of speech and musical sound.

The first effect I added was an FFT delay I made simply by reading the samples back into the buffer after they are read by the index. The second was a filter with the Q pretty much maxed out. Then I added Ableton’s resonator effect, which added and accentuated harmonics that I played around with throughout the composition. After sending it through another simple delay I EQ’d it to find the really resonant frequencies and it kind of rests in that general area for a while. I’ve included a link to the piece and a link to the code for the embedded pfft~ for my homemade FFT delay.