CC1 WEEK 7 Processing (1)

In this week's assignment we were required to create a sampler bank in Reason NN19 from the phonetic structure of the quote from Marshall McLuhan "We become what we behold. We shape our tools, and thereafter our tools shape us".

From there we had to set the parameters in the sampler bank so they could be played on the synthesizer plugged into the computer. This would create an instrument that could be played in real-time and then recorded on Reason before being exported as an AIFF file.

To create the quote I had to use Orator, a speech program. The quote became a sound file which was then opened in Peak. I created regions which represented small portions of the quote. These portions where of such a size that they only contained one or two syllables of a word.

At first, I tried to set the parameters myself, but forgot and failed. However, I talked to Christian and he showed me how. I was then on my way again.

Once the parameters were set, I mucked around with the settings of the sounds. The moment I saw the "portamento" knob my eyes gleamed. I turned it all the way up and proceeded to record my crazy collaboration of crap!

Below is a screen dump of my Reason edit window:


Click HERE to listen to my final product.

Overall, it was a great and enjoyable assignment. I was impressed by the ability to play around with the knobs and buttons while recording a song in Reason. A great week indeed!

CC1 Week 6 (Sequencing)

For our Creative Computing assignment in week 6 we were to use ProTools and sequence our paper samples to create even more abstract sonds to what they were before. I had not created any paper samples so for this week I useed the sound recordings we created in Audio arts. (acoustic guitar recordings)

In this assignment we were given a very abstract soundscape in which we were to base the sound of our paper samples on. It was indeed a challenge. I decided to alter the volume and pan levels throughout the entire "piece". I found this enjoyable. I used the free-hand mode which allowed me to change the shape of the volume and pan lebels to exactly how I wanted it, as shown in the diagram below:


When it came to sequencing the five different guitar recordings I decided to put them in random order and then delete certain selections, hence making the playback very random. The result is shown in the diagram below:



CRAZY GUITAR SOUNDS

Overall, although I have missed out on a few important weeks, I am glad that I could get this week's assignment done. my confidence with Macintosh has strengthened greatly.


REFERENCES:
"Week 6 - Sequencing", Lectured by Christian Haines

https://www.myuni.adelaide.edu.au/webapps/portal/frameset.jsp?tab=courses&url=/bin/common/course.pl?course_id=_172355_1&frame=top

AA1 Week 6 (Acoustic Guitar Recording)

For our Audio Arts assignment in week 6 we were required to record an acoustic guitar using five different techniques. Unfortunately, due to the misreading of a sign, two classmates and I went on a wild goose chase through Elder Hall. We ended up being 25 minutes late for our lesson.

Steve walked us through various techniques of microphone selection and setup. I was intrigued by how many different ways you could record an acoustic guitar. Every technique resulted in a wonderfully unique sound. Now it was my turn to record.

We recorded the guitar using five different techniques and two different types of microphone, the Neumann U87 and the Neumann KM-84i. Both of which are condenser microphones.

In our first test we had the U87 about 30 cm from the sound hole on an angle of around 16 degrees to the scratch board, as shown in the diagram below. In this recording not a great deal of bass is evident. The guitarist (me) could also have played a little quieter.

TEST 1

For our second test we had the U87 horizontally positioned 15cm away from the 14th fret on the guitar with angle of 90 degrees to the scratchboard. In the recording, bass is more evident than in test 1, but not much more. There are very subtle differences between the recordings of test 1 and 2.

TEST 2

Test 3 was almost identical to test 1, except we the had the U87 pointing downwards at the sound hole of the guitar rather than upwards as explained in test one The microphone was positioned at an angle of 156 degrees to the scratchboard. Again, not a great deal of bass was evident in the recording

TEST 3

Test 4 was my favourite. We had the U87 vertically positioned approximately 2.5m away from the sound hole. This produced a more echoey, open recorded sound. Bass was barely audible.

TEST 4

For Test 5 we used the "XY" microphone position. We had two Neumann KM-84i condenser microphones placed at right angles to each other approximately 5cm from the 14th fret. This produced a rich, bassy and well balanced recording sound.

TEST 5

Overall, this week's assignment has been a valuable experience. I would gladly do it again.

References:

"Audio Arts Lecture Week 6 (Acoustic Guitar Recording)" - Stephen Fieldhouse

http://www.emu.adelaide.edu.au/resources/guides/hardware/microphones.html