jcrisafu@andrew.cmu.edu – 18-090, Fall 2019 https://courses.ideate.cmu.edu/18-090/f2019 Twisted Signals: Multimedia Processing for the Arts Mon, 09 Dec 2019 14:02:53 +0000 en-US hourly 1 https://wordpress.org/?v=5.2.20 https://i1.wp.com/courses.ideate.cmu.edu/18-090/f2019/wp-content/uploads/2016/08/cropped-Screen-Shot-2016-03-29-at-3.48.29-PM-1.png?fit=32%2C32&ssl=1 jcrisafu@andrew.cmu.edu – 18-090, Fall 2019 https://courses.ideate.cmu.edu/18-090/f2019 32 32 115419400 jcrisafu – Project 2 – Player Vocoder https://courses.ideate.cmu.edu/18-090/f2019/2019/12/09/jcrisafu-project-2-player-vocoder/ Mon, 09 Dec 2019 14:02:52 +0000 https://courses.ideate.cmu.edu/18-090/f2019/?p=3377 The sounds of a vocoder have always fascinated me. From Laurie Anderson’s ominous voice in O Superman to the funky robot fun of Stevie Wonder and Daft Punk’s discographies, the vocoder has an intense amount of potential within itself. With this project, I decided to explore how this uniquely electronic method could extend into other fields by allowing a vocoder to play itself through MIDI information, as well as see how different source sounds other than a voice could react with a vocoder style.

The foundations behind a vocoder. The two fftins~ are your two audio sources, the second one usually a saw wave for robotic goodness.

In this presentational version of the patch, I decided to combine the four string parts of Ravel’s String Quartet in F Major, because I can. As of right now, I am only able to use MIDI 0 type files running concurrently with each other, as the parsing of channels from a MIDI 1 file became incredibly daunting when trying to keep the patch self-contained, as opposed to working in conjunction with a DAW (in my case, GarageBand. Sad.). I allow for two different source audio sources; either an ADC~ input, or another file through SFPlay~. This allows for both the classic talk-box style, as well as the ability to turn other pieces of pre-recorded music or speech to be transformed. As a test, I used Shintaro Sakamoto’s “A Stick and Slacks” for its rhythmic intrigue and staccato nature to interplay with the legato phrases of Ravel.

This is that. That’s this. (As a note, the noise~ is used to make consonants more pronounced by exploiting the clipping that would occur when speaking into a microphone.)

I believe that this patch could become an interesting live performance technique, especially with single-voice instruments like strings, woodwinds, and brass. The opportunity for someone to create a multitude of voices from one source opens up fascinating opportunities for self-duets, trios, and more. I would have loved to find more flexibility in affecting the MIDI data outside of creating my own MIDI files that were set in stone.

https://drive.google.com/drive/u/1/folders/1yoklE-qoguK9-JydRIqeqbp0AHKOYa3Z


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]]> 3377 jcrisafu – Project 1: Sample Theremin https://courses.ideate.cmu.edu/18-090/f2019/2019/11/06/jcrisafu-project-1-sample-theremin/ Wed, 06 Nov 2019 13:48:38 +0000 https://courses.ideate.cmu.edu/18-090/f2019/?p=3264 One of my primary fascinations with audio concerns sampling: what can be a sample? And how can I make a sample sound so, so bad different? While there are instruments out there made to deal with samples like MPCs, loop pedals, etc, I decided to create a theremin that was meant to manipulate samples instead for this project, using an Arduino, sensors, and Max.

In this project, I found a chandelier from Construction Junction, gutted it, and rewired four infra-red sensors into each of the arms, which are then housed in glass fixtures. Each sensor sends serial information to the Arduino, who packages and passes it on to Max. Max then separates out each sensors information into the appropriate outlets to manipulate whatever attributes I desire in real time.

I had also tried to implement some more chopped-and-screwed functionality into this, which left me with a BPM reader to allow for looping a number of measures from a start point, but I was not able to figure out how to use the sensor information to work with that function in any consistent way.

(A video was taken of a performance I did with this, which is ended up being a very large file, so I will upload that once I am able to download it onto a computer myself.)


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-----------end_max5_patcher-----------

https://drive.google.com/drive/u/1/folders/1RlOQ0QiijyaoktSFPXQh2nbNj3dOwQCu

]]> 3264 jcrisafu – Assignment #4: Signal Boiler https://courses.ideate.cmu.edu/18-090/f2019/2019/10/16/jcrisafu-assignment-4-signal-boiler/ Wed, 16 Oct 2019 06:24:03 +0000 https://courses.ideate.cmu.edu/18-090/f2019/?p=3138 During the demonstration of the Youtube-esque pfft~ in class, it was pointed out that the signal began to sound like it was underwater after a certain point of manipulation. Utilizing pfft~ objects and constantly changing parameters, I tried my hand at creating a scenario in which a signal acts like water to be boiled.

In the patch, I experimented with several sources, but ultimate, water boiling ends up sounding pretty similar to every other instance. Convoluting a signal with two separate filtered noise channels, any signal sent through it sounds warbly at first before the pfft~ does its magic, zooming the signal into a bit of a scream before coming back down. For fun, I’ve included the acapella for Offset and Cardi B’s “Clout”, because I, too, will do anything for clout.

I beg of you, try to enjoy.

]]> 3138 jcrisafu – assignment 3: convoluted rainbow https://courses.ideate.cmu.edu/18-090/f2019/2019/10/02/jcrisafu-assignment-3-convoluted-rainbow/ Wed, 02 Oct 2019 13:04:31 +0000 https://courses.ideate.cmu.edu/18-090/f2019/?p=3035 No super long piece this week. Sad, I know.

The list.

For an experiment in convolution, I first began by using a small, yet rich sample by ripping the second half of the bridge in Pomplemoose’s cover of “Over the Rainbow”. Afterwards, I used our handy-dandy convolution patch to simulate five different scenarios.

First, I made two recordings of balloons popping in a room in Purnell next to an open piano with the sustain pedal held down. The first was in the Rasmusson, which is a small conference room that, for whatever reason, has an upright piano in it. The second took place in the Rauh theatre, a mid-sized black box space over a Yamaha Baby Grand. While both allowed for an interesting sustain after the release of the sample, the Rasmusson’s smallness gave it a more tinny timbre, like someone was inside of the piano, as opposed to the Rauh which simulated more of someone singing into the instrument.

My second pair of recordings were taken from underpasses on my walk back home to Larimer. Overpass 1 was taken under the bridge that connects Shadyside to the area with the liquor store, Chipotle, and the general East Liberty area. It’s a thinner bridge compared to my second recording, Overpass 2, which takes place under a small but wide section of East Liberty Boulevard. This second overpass also has a large divet in the middle of the concrete, allowing for a fascinating echo.

Finally, while I would consider the open piano recordings more of my experimental requirements, I decided to also utilize one more convolution sample. This came in the form of a YouTube video comparing the sound of Princess Peach reading the opening letter from Super Mario 64 (both original and the DS remake). When the sample was ran through this convolution, what came out of it was almost cacophonous, except that the arrangement of “Over the Rainbow” allowed the tonal qualities to blend together in with immense consonance.

So, yes! Good times abound!

(Other convolution samples I used before arriving at this included many many many 808s and drum loops, the latter of which made for an interest effect that simulated a kind of pre-delay to the rhythm of the drum break. I do wish the 808s were cooler, though. 🙁 )

https://drive.google.com/drive/u/1/folders/1adgGDGmnqqNDGdgPZKhJ8ygAtHr4YZuR

]]> 3035 jcrisafu – Assignment 2: aleatoric strangulation https://courses.ideate.cmu.edu/18-090/f2019/2019/09/18/jcrisafu-assignment-2-aleatoric-strangulation/ Wed, 18 Sep 2019 08:45:01 +0000 https://courses.ideate.cmu.edu/18-090/f2019/?p=2920 Ooo, we done did it again, folks. And this time, it’s even more personal. It’s revenge.

the new behemoth

This Max patch involves feeding random numbers into the parameters for line objects, thereby forcing the audio to stretch itself out and come back together haphazardly. Initially, I was going to use this on the individually stems of a string quartet, so that each instrument would phase in and out of tune and tempo with each other. However, this was unlistenable, and in a not fun way.

the deceptively simple set-up I ended up with

And so, I turned to using Jacob Collier’s “Moon River” as a source audio, because I think it’s a very bad arrangement, and the way my patch was working with it almost… made sense? Modulating on top of the aggressive modulations within the track as it already stood to, on occasion, tone it down a notch, before absolutely spiraling out again.

If you have the opportunity, I would really recommend feeding whatever you can think of into this machine. Other working sources included the vocal stems to Michael Jackson’s “Don’t Stop Til You Get Enough” and Ariana Grande’s “NASA”, as well as “Small Shock” by Toby Fox.

The one thing I wish I could have accomplish with this is that, as I was writing the subpatch, I was trying to use regular line objects (as opposed to line~) to create a ramp so that the pitches would slide smoothly up and down by cents. This proved to be far more challenging for me than I initially thought. Hopefully I will go back to this once I have more experience (and with a Max license that’s paid for).

Here’s the link to my Google Drive folder for this assignment, including all patches, the original audio, and a Doc with the compressed code.

]]> 2920 jcrisafu – Assignment 1: ‘slow down, rainy days’ https://courses.ideate.cmu.edu/18-090/f2019/2019/09/04/jcrisafu-assignment-1-slow-down-rainy-days/ Wed, 04 Sep 2019 12:01:28 +0000 https://courses.ideate.cmu.edu/18-090/f2019/?p=2843 Last Spring, I fulfilled a part of my curriculum as a directing major where the four of us studied in New York through Syracuse University, primarily interning on productions through the city. I didn’t know anyone, and I was working non-stop. So, it was pretty isolating!

While theatre is a social art form, music doesn’t have to be, and so over that semester (as well as before), I was creating music any chance I got. One of those products, a rendition of “Rainy Days and Mondays” by the Carpenters in the style of Animal Crossing’s KK Slider, has become the subject for my experiment. With it, I wanted to explore the visceral experience of a song who’s tempo and arrangement borders on melancholy as it morphs into ambient desolation, and then returns seemingly unaware of its own metamorphosis

The original cover.

One of my favorite audio manipulating tools in the world is Audacity’s “Change Speed”, in which both tempo and pitch are affected by a multiplier ranging from 0.010 to 5. The ramifications of that range are immense: ten seconds of audio multiplied by .1 can become a minute and forty seconds of continuous sound, while also illuminating overtones and frequencies that the human ear would have taken for granted from the sample.

An example of the extent to which audio can be stretched in Audacity.

With this piece, I worked backwards, taking ten seconds from the end of the track and decrementing the speed by .1. I continued to do this for every ten seconds preceding it. Once reaching 0.1 itself, I reversed the process and incremented by .1 up to 1.2, returning back down so that the track begins at the initial pitch it was created in and would end up at. The result is a piece nearing 9 minutes in length, which devolves into a disorienting ambient wasteland during an acoustic guitar solo in the mid-section. There’s a decent number of glitching-out sounds during the switches in tempo: this is due to the fact that the 10-second chunks were all mapped out by hand, and so in human error, there are overlaps of the speed being devolved. I rather like it, though, as I feel like it only intensifies the personal connection.

The behemoth.
The (audible) behemoth.
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