Abstract
Electroacoustic
music developed from playing through mono tapes, to stereo speakers and with
simultaneous technical developments, surround systems are commonly used today. The
travelling of sound in a space will provide a sense of spatial awareness. This
academic paper will propose the use of surround systems using Max/MSP for
Electroacoustic performances. At the end of the academic course, the writer
will combine the use of Electroacoustic surround systems with live visuals to
create a live performance. This live performance will push the creative
boundaries of audio-visual works and fully utilize the spatial depth of an
area.
Background
The writer is an
audio-visual artist, specializing in early electronic music such as Musique
Concrรจte, Acousmatic and experimental noise music.
She was also trained to create visual images to combine her videos with her
composition. Subsequently she was invited to perform live visuals in several
events. She is greatly interested in playing her violin using extended
techniques and further processing her violin sounds. Furthermore, she would
play recording samples and manipulate them during live performances together
with the processed violin sounds. Trained as an architecture and interior
design student at a younger age, spatial planning and visuals are still
influential to her current artistic works.
Proposal
The objective of
this Max/MSP patch is to provide an audio input, a playback, effects and
surround outputs for the live performance. This Max/MSP patch will have two
sources transiting or playing at the same time, namely the acoustic violin and
field recordings.
The acoustic
violin will have a bridge pickup that will send its signal to the direct
injection (DI), then to the Komplete Audio 6 interface. This will produce clean
signal before sending the output to Max/MSP, which runs on a Macbook Pro. The
audio input signal will need a gain to control the signal of the violin.
Acoustic instruments need to be equalized well and can be a tedious task to do;
therefore an equalizer must be placed after the gain to reduce certain
frequencies. For the acoustic violin and pickup for this setting, reducing some
of the highs will provide a more pleasant sound.
The violin sounds
will then be sent to a switch, which allows the user to choose between the
distortion and ring modulator. A bit crusher reduces the resolution or bandwidth
of the digital audio data; the “dirty” and distorted sound may provide an edge
to the piece. Additionally, the distorted sound will be sent into a peak amp. On
the contrary, the ring-modulated violin sounds will be sent to time-based
effects, such as the reverb and delay. Experimentation is needed to test out the
different reverbs available; convolution, plate or spring reverbs are taken
into consideration for this patch. When the violinist is playing pizzicato or
short accented notes, a Ping-Pong delay will create a continuous sounds to fill
in empty spaces in the piece.
Field recordings
will need a playback for playing and triggering. The audio sample will be sent
to the equalizer that is able to control the “frequencies”, “Q” and “gains”. To
generate synth-like or electronic sound, a frequency modulator will be able to
produce a different sound palette to suit the overall Acousmatic piece. Time
based effects will also be included to have more diverse sounds. The hall
reverb will probably create a sense of space for the processed samples. Field
recordings usually will have ambient sounds unless recorded in a studio or in a
completely silent space; therefore a simple delay will not cause too much
chaotic and unwanted noise. It is important to create space in a piece during a
performance or a piece of composition. A Ping Pong delay will produce too much
ongoing noise that is not suitable for this context. In addition, a compressor
can be added to the signal chain to have compressed sounds, which might blend
in with the violin-distorted sounds. In case of emergency, a compressor can
also help to prevent peaking. Reversing audio samples are very commonly used
and can create another texture to the piece. A reverse audio playback can be
added after the processed sounds.
Transition is
going to be hard for a soloist triggering so many buttons and playing the
instrument at the same time. A looper can help to prevent silent and helps to
create an underlying track that transits to the next section. The looper will
be programmed after the violin-processed and field recordings sounds. Moreover,
these signals will be sent to a limiter and to the surround panning. Panning
holds a great important to surround systems; the sounds need to be manipulated
properly to allow the audience to hear the sound travel. For recording and
documentation purposes, a recorder that is able to bounce out to digital files
like wav, aiff files and analog disc will be included after the output.
Midi controllers
placed a great importance to live performances, being able to control different
parameters on the fly can create more texture, density and dynamics to a piece.
The flowchart will indicate the control inputs needed.
Due to the time
constraint for this project, the writer will start off with experimenting with 5.1
surround speakers. If there is additional time allowance, more speakers can be
added in at the later stage of development. Motion sensors, foot pedals or
designing a foot controller using Arduino can be taken into consideration at a
later date. The writer also has great interest in video performance. Research
about Nintendo, Wii controllers and other motion sensors to trigger the live
visuals can also be taken in a consideration too.
Work Schedule
Week
|
Dates
|
Work Progress
|
1 to 5
|
(23/09/2015 –
27/10/2015)
|
Lectures and
introduction on Max/MSP.
|
6
|
28/10/2015
|
One to one
tutorial
|
|
30/10/2015
|
Submission -
Proposal for Project Using Max/MSP by 11pm.
|
|
28/10/2015 –
03/11/2015
|
Setting up the
audio input for the violin and the recording samples playback.
|
7
|
04/11/2015 –
10/11/2015
|
Setting up the
gain and EQ, frequency and ring modulators for the violin and sample tracks.
|
8
|
11/11/2015 –
17/11/2015
|
Setting up the
peak amp and time-processing effects.
|
9
|
18/11/2015
|
One to one
tutorial
|
|
18/11/2015 –
24/11/2015
|
Setting up the
compressor, reverse, looper and limiter. Troubleshoot.
|
10
|
25/11/2015 –
01/12/2015
|
Work on the
surround panning, mapping the midi controllers and recording.
|
11
|
02/12/2015 –
08/12/2015
|
Work on the
surround panning, mapping the midi controllers and recording.
|
12
|
09/12/2015 –
15/12/2015
|
Testing out the
live performance and recording.
|
13
|
16/12/2015 –
20/12/2015
|
Testing out the
live performance and recording.
|
Hols
|
21/12/2015 –
03/01/2016
|
Testing out the
live performance and recording.
|
14
|
04/01/2016 –
07/01/2016
|
Reviews and
checks.
|
|
08/01/2016
|
Submission –
Project using Max/MSP by 4pm.
|
15
|
11/01/2016 –
15/01/2016
|
Seminar
Presentation
|