Week 5 Forum - More Collaborations

Our presenters this week were Luke Digance, Daniel Murtagh, Darren Slynn and Alfred Essemyr.

Luke's presentation was on the idea of collaborating music and dance. The choreographer he was talking about was Merce Cunningham. The collaboration also consisted of Sigur ros and Radiohead. It was hard to visualise how this would work because Luke wasn't able to get some audio. Still the idea was interesting. [1]
[2]
[3] Ouch!
[4] Merce doing his morning stretch.


Daniel’s presentation was on Mike Patton. I am not familiar with Patton’s music but it sounds like he has collaborated with a ton of musicians and bands. From the samples that Daniel played, it showed the versatility of Patton. Patton has performed music ranging from metal to opera. That was the most impressive part of his music to me. [5] [6]
[7]


Darren Slynn was next to present. He chose the collaboration of Steely Dan, Frank Zappa and Weather Report. I had never heard of The Weather Report. They are a Jazz Fusion band from the 70s. I thought the idea of these artists collaborating was interesting and seeing as I like jazz this kind of music would be something I would want to look at. [8]
[9]

[10] THE WEATHERMAN! ! !

(this came up in google images)

Finally Alfred presented us with an idea on DJ collaborating. I don’t fully understand how what he presented was strictly collaboration. Then again, I don’t really mind because it was interesting. Being an avid lover of the dance music scene it was great to hear some drum ‘n’ bass. I think Alfred was saying that by DJs mixing other DJs music and perhaps combining different sub-genres of dance music that was a collaboration. I hadn’t really thought of DJing this way and really it could quite well be a collaboration.

He also mentioned the possibility of music being downloaded off the Internet and artists using that music in their own (i.e. ripping off samples). I suppose this is a collaboration and a lot of DJs do this. So, it could be considered a compositional collaboration. The only problem, is that in most cases the artists ripping off the sample doesn’t want anyone to know so he/she doesn’t get done for copyright.

Alfred said that a DJ may copy just a snare hit or anything small. I am about 99% sure (if I am wrong please correct me) that legally you cannot copy anything at all. A one second sample may not be noticeable but it is still illegal. The law is nothing can be copied. . . I think [11]

[12] Armin van Buuren, one of my heros. . .


[1] Luke Digance.
'Music Technology Forum Collaboration Presentation - EMU Space'.
Lecture presented in the EMU Space, Electronic Music Unit, University
of Adelaide, 29th March 2007

[2] 'Theatre Archives at MSU'. Department of Theatre. http://theatre.msu.edu/images/ta/Cunningham_Merce-001.jpg (Accessed 30/3/7)

[3] 'Merce Cunningham - Legendary 20th
Century Choreographer'. Scottish Arts Council.
http://www.scottisharts.org.uk/1/artsinscotland/dance/projects/archive/curve.aspx
(Accessed 30/3/7)

[4] 'Clarice Smith Center'. Gallery.
http://www.claricesmithcenter.umd.edu/gallery/images/full/Merce%20Cunningham-couple.jpg
(Accessed 30/3/7)

[5] Daniel Murtagh. 'Music Technology Forum
Collaboration Presentation - EMU Space'. Lecture presented in the EMU
Space, Electronic Music Unit, University of Adelaide, 29th March 2007

[6] 'Mike Patton'. Brooklyn Vegan. http://www.brooklynvegan.com/img/music/faithnomore.jpg (Accessed 30/3/7)

[7] 'vege.fu'. Morblog. http://morblog.morloi.org/wp-content/patton.jpg (Accesssed 30/3/7)

[8] Darren Slynn.
'Music Technology Forum Collaboration Presentation - EMU Space'.
Lecture presented in the EMU Space, Electronic Music Unit, University
of Adelaide, 29th March 2007

[9] 'Weather Report'. Weather Report. http://en.wikipedia.org/wiki/Weather_Report (Accessed 30/3/7)

[10] 'Weather Report'. Jojo X Series. http://www.jojoxserie.net/pics/illustrazioni/weather_report.jpg (Accessed 30/3/7)

[11] Alfred Essemyr.
'Music Technology Forum Collaboration Presentation - EMU Space'.
Lecture presented in the EMU Space, Electronic Music Unit, University
of Adelaide, 29th March 2007

[12] 'Labyrinth'. Damicon. http://www.damicon.fi/fri/photo/labyrinth-2001/dj-armin-van-buuren-2.JPG (Accessed 30/3/7)

AA2 Week 5 - Wind Instruments

This week our task was to record a wind instrument. I decided to record a flute. Not because we went through it in class, but because I had easy access to a flautist which was my sister.

When I was setting up the microphones, I had to continually adjust the positions since my flautist kept moving around. This was expected, but since I wasn't recording someone I hardly knew I was able to say "KEEP STILL!"

I used two Neumann U87 microphones, set to cardioid, to compensate for the movement. One was on top of the other with the top one upside-down. I have a picture below. I was going to suggest this set up in class, but there really isn't time in our lecture. I found that, because they were aligned, there weren't any phasing issues. I don't think there are but if you hear differently let me know!

I also placed a Neumann KM 84i in a similar position that Ben had suggested in our class. I found that in this position you minimised the sound of the keys and allowed for the body of the flute sound to be recorded well. I could still hear breathing but I don't think that can ever be entirely avoided.

Finally there was a room microphone, which again was another Neumann U87. As you've probably guessed I loved these microphones (as well as the Rodes NTV). I would have tried the Rhodes microphone but I was pressed for time. Also, it’s so annoying to set up. Still, its great sound makes up for that.

During our Audio Arts class this week, I asked David if you would ever compress a flute recording to tape. David said no, but I wanted to try it anyway to see how it sounds. I recorded the same song with compression and without compression. I think the uncompressed version sounds a lot better. So he was right. The problem with the flute is that some notes do jump out more than others and I felt compression would help to fix that problem. Instead the dynamics of the recording deteriorated. Therefore I don’t really know what you can do to fix the problem other than to record a flautist that can control their breaths. [1]

I have some pictures, screen-shots and samples below for you to look at.


Screenshots



No Compression






With Compression


Flute Playing






Mixer Window


Recordings

Preparation before I hit record [660KB]

Flute with compression [3.1MB]

Flute with no compresssion [2.6MB]

The Goat Song [5MB]


These are a couple of annoying error messages I encountered while recording. Pro Tools was having some anxiety attacks that day!




[1] David Grice. 'Audio Arts Lecture - EMU Space'. Lecture presented in the EMU Space, Electronic Music Unit, University of Adelaide, 27th March 2007.

Week 4 Forum - Collaborations

This week we started our presentations. I found out this week that I am not presenting until week 10. Luckily it happened to be later in the semester. I didn't attend the first forum so I wouldn't have known if I was the first week or the last.

Our presenters this week were David Dowling, Vinny Bhagat, Will Revill, and Sanad.

David presented us with a collaboration between Metallica and a Symphony Orchestra. I thought the two went well together. To be perfectly honest I am not a Metallica fan and so I don't know any of their music really. Therefore I can't compare what David presented to us with how they sound on their own. I thought the sound of the orchestra definitely added something to their music. David mentioned that he would have liked to see the orchestra playing some of the music hooks rather than just being there in the background. Actually I think the way it was done would have been better than the orchestra playing the guitar parts. Maybe, I'm not really sure.

Next Vinny gave a presentation on the artist Trilok Gurtu. This was an artist he highly admired. I had never heard of him until today and it was interesting to see his collaborations with countless artists. I though Vinny's presentation was interesting and it would have been good if he could finish everything. I though the music he played was very atmospheric and I really liked his percussion.

William was next, and he talked about video game development. I found this talk very interesting, as it is a field that I would love to work in one day when I graduate. It would have been good to see some movies or perhaps more pictures. He also mention about the development of Star Wars Episode II Attack of the Clones. I have watched this video where George Lucas was doing vocal dubs of Yoda with the vocalist in another country (I think it was Australia). Will should have showed this video if had access to it. I saw it at SAE so it may be hard to find a copy of. I don’t know.

Finally Sanad gave his presentation. I’m not actually sure what his talk was on because it ended up becoming a debate on World Music. Actually I think he wanted to illustrate the collaboration between different cultures and their music. [1] Sanad was passionate about how it is not right that western music dominates the music industry. I said exactly the same thing on the day, but I’ll say it again: IT’S NOT ABOUT THE MUSIC!

Pop music is not mainstream because it is any better than other styles of music. It is mainstream because the music industry is a multi-billionaire dollar industry and is geared only for PROFIT. Are people going to buy music they’ve never heard of? The key word here is BUY. The music industry is a BUSINESS.

[2] you know what he's saying. . .


The music industry is also about IMAGE and SELLING an image to the youth of today. Let’s say, theoretically, that these two singers are both equally good at singing. Who do you want to watch on stage?
[3][4]



The same thing can be applied to other arts. Let’s take movies. Hollywood is again, a multi-billionaire dollar industry. The reason why the actors get paid millions of dollars to be in movies is because the producers know that people are going to BUY tickets and see the movie. Again IMAGE and MONEY are the key points to consider. It doesn’t matter how good you are at music and acting, if you can’t sell, you won’t. There are so many low budget films, plays and Broadway shows where the actors get paid next to nothing. Their skills may be just as good or better.

If you want to be a true musician, where you do it for the love then it doesn’t mean you have to have your music on the shelves at Sanity music. Therefore I think Sanad needs to think about collaboration where it’s happening and not worry about whether people know about it like they know western music.

Of course, there are commercial artists that are genuinely talented. I am just picking on the upmost marketable “musicians” that record companies put together as an experiment to see how many millions of dollars they can make. The Spice Girls is a classic example.

Surprisingly, for a music student, I am actually pro commercialism. This is because I want to be a commercial artist and make money in the music industry. I have accepted that if you want to be successful in the music industry you need to make music people like, not music you like.


[1] David Dowling, Vinny Bhagat, William Revill, and Khaled Sanadzadeh. 'Music Technology Forum Collaboration Presentations - EMU Space'. Lecture presented in the EMU Space, Electronic Music Unit, University of Adelaide, 22nd March 2007.

[2] ‘What's the Rumpus’ Blogger. http://whatstherumpus.blogspot.com/2005_08_01_whatstherumpus_archive.html (Accessed 30/3/7)

[3] 'Newsarama.com'. Write or wrong. http://images-eu.amazon.com/images/P/B0000252VB.02.LZZZZZZZ.jpg (Accessed 30/3/7)

[4] 'Britney Spears'. fnacMusic. http://www.fnacmusic.com/Images/artiste/spears-britney.jpg (Accessed 30/3/7)

CC2 Week 4 - MIDI Information & Control

This is my attempted Max patch for this week. Not all the functions are operational but I will fix it in due course.




[1]

Max Patch

[1] Christian Haines. "Creative Computing: Semester 1, Week 4; MIDI Information and Control" Lecture presented at the Electronic Music Unit, University of Adelaide, South Australia, 22nd March 2007.

AA2 Week 4 - Percussion

Our task this week for Audio Arts was to record some percussion. I worked with Ben and John to record a drum kit. I was the drummer and was able to showcase my dodgy but enthusiastic performance.

We used the same microphone selection as in our class and generally had the same setup in terms of mic placement.

I have two recordings of the drums. In my Pro Tools session I used some plugin to create a better mix. I'm not sure how Ben and John mixed their drums, but I felt the Kick (no surprise) and the Hats (to a lesser extent) needed some work.

I originally placed a Gate on the Kick because there was the ringing of the snare coming through. Because of problems in the mix, I quickly took the Gate off. I put an EQ on the Kick and boosted around 2kHz to try and create some higher frequencies that were lost due to the lack of the beta sound.

I placed a reverb on the Hats to try and make them sound less choppy. This might just be a bad habit of mine, but I always tend to put slight reverb on hi-hats. I also sometimes put slight steroe delay, but no this time.

I have Compression and a Limiter on the Master Fader just to prevend clipping and to increase the volume. [1]


Drums Take 1

Drums Take 2

**Files are small**









Ben was loving my drumming.







[1] David Grice. 'Audio Arts Lecture - EMU Space'. Lecture presented in the EMU Space, Electronic Music Unit, University of Adelaide, 20th March 2007.

Week 3 Forum - David Harris' Piece

Our forum session today was a class performance of one of David Harris' pieces. I originally wanted to play drums but Vinny beat me to it. Therefore I was on the piano with Dragos.

The way this piece was set out was not like traditional music notation. It had a score but instead of following a time signature with a tempo, we had to follow actual time as in minutes. So we would play whatever notes were on the score between say 5-10 minutes. This kind of music doesn't surprise me from David Harris, as I have been involved with his music since I have been studying here and so now I guess I'm used to it.

To me the piece was okay but nothing great. I didn't mind performing it because I like playing piano but I thought it went for way too long. I know the first years were bored but I guess I'm used to forum now that I'm a second year.

I was right in front of Adrian so I could hear the worlds that he was speaking. Some of them were funny and so I had some entertainment throughout the whole 45 minutes. Next time David, make it 10 minutes. [1]


[1] David Harris. 'Music Technology Forum Performance - EMU Space'. Lecture presented in the EMU Space, Electronic Music Unit, University of Adelaide, 15th March 2007.

CC2 Week 3 - Program Structuring

This is my Max patch for this week. I had some problems with the MIDI channel and also the note off messages. The MIDI channel for some reason defaulted back to channel 2 after I played a note. This is most likely due to the settings on the Novation MIDI controller. [1]





[1] Christian Haines. "Creative Computing: Semester 1, Week 3; Program Structuring" Lecture presented at the Electronic Music Unit, University of Adelaide, South Australia, 15th March 2007.

AA2 Week 3 - Electric Strings

This week we talked about recording strings. We went through both electric and acoustics instruments but on had time to record an electric guitar.

This is my strings recordings for this week. I also have a few pictures of my Pro Tools Session and also my microphone setup. I recorded myself "playing" guitar inside the studio. The amp and microphone setup was out in the EMU space.

I used a lot of compression in my recording as an experiement to see how loud and compressed I could make the sound. I am not the greatest guitarist so I couldn't get a great sound. [1]











Electric Guitar - No Compression

Electric Guitar - With Compression

**All Files Are Small**


[1] David Grice. 'Audio Arts Lecture - EMU Space'. Lecture presented in the EMU Space, Electronic Music Unit, University of Adelaide, 13th March 2007.

Week 2 Forum - Originality

Today Steven talked about what originality is. Although the topic was interesting, it was hard to sit and listen for two hours, without a break, on his interpretation on originality. I have to admit my concentration was in and out. When I was actually concentrating, there were some parts that I agreed with and some parts which I though were just wrong.

Another point which I think is important is this: Who cares if you're original or not? I'm probably going to get slayered for this saying this (if anyone reads my blog). As a producer myself, I take influences from different artists. Does that make me unoriginal? If I can produce good music and unconsciencly take parts from other artists then I would consider that a good thing. By “taking parts” I don’t mean literally copying the music, I mean copying aesthetic ideas and structure of the music.

If you look at experimental composers like John Cage, you can see that in some cases originality doesn’t do much for the scenes. These composers are original but look at what they are producing? If I heard up a round of cattle and record that, I am original because no one has done it before. I am also producing nothing but noise that some would consider music. Not me. Originality has its place but the reason why experimental composers don’t release music is because their originality has surpassed what the average person actually wants to listen to.

At the end of the day, I’d rather be influenced by producers I admire and produce my interpretation of electronic music than try and be original like composers I don’t even like. That’s my two cents. [1]

[2]quite possibly my next piece. . .


[1] Steven Whittington. 'Music Technology Forum Presentation - EMU Space'. Lecture presented in the EMU Space, Electronic Music Unit, University of Adelaide, 8th March 2007.

[2] Cattle. 'Windorah to Dig Tree at Burke and Wills Bridge, near Innamincka', Leisure Planet Music, http://www.amosbutleraudubon.org/WCY/06July16.htm (Accessed 12/03/2007)

CC2 Week 2 - Max Quickstart


This is my patch for the Max Quickstart. The selectable starting note object isn't really needed as you can select the starting note on the note value object below the counter. The tempo select is connected to the metro. I could've labelled it but I didn't. [1]



[1] Christian Haines. "Creative Computing: Semester 1, Week 2. Max Quick Start." Lecture presented at the Electronic Music Unit, University of Adelaide, 8th March 2007.

AA2 Week 2 - Voice Recording

This week we went through vocal recording. Personally, I think the most important aspect of vocal recording is to pick the best microphone. Everyone has a different
timbre in their voice and so it is important to try different microphones.

Luckily the vocalist I work with, when producing my own music, uses her own mic so I don't have to do anything!

The microphones I used were the Shure SM-58, and the Neumann U87. I have recorded myself reading a paragraph both in a monotone voice and then ridiculously fast. I was going for the "Mr Bankrupt" annoying ads. I also utilised my skills from choir last year and did some singing.

I thought it was interesting how David talked about TV and radio commercials to illustrate the use of compression. In my recordings I have overused compression but this was just to see how it sounds. If I was doing a proper paid job obviously I would make it sound more professional. [1]


[2]


Normal Speaking - using a SM-58

Reeally Fast/Loud Speaking - using a SM-58

"Singing" - using a Neumann U87


**All files are small**


[1] David Grice. 'Audio Arts Lecture - EMU Space'. Lecture presented in the EMU Space, Electronic Music Unit, University of Adelaide, 6th March 2007.

[2] Taken at EMU Space University of Adelaide - 9th March 2007

Week 1 Forum - Introduction

The first week of forum was really just an introductory session to meet all the students. Well that's what I heard/read from other students and in their blogs. I wasn't at the first forum because I was working, but I knew that nothing much would happen in the first week.

It is surprising how many students are enrolled in Music Technology this year whether it's in the degree, certificate or the new diploma. After reading Ben's blog I feel that the session was a waste of time, or maybe he was just in a bad mood due to not eating. Really, I have no idea. I was happily sitting around at UniSA getting paid to do nothing because the busy period was over. If only uni was that easy. [1]


[1] Steven Whittington. 'Music Technology Forum Presentation - EMU Space'. Lecture presented in the EMU Space, Electronic Music Unit, University of Adelaide, 1st March 2007.

CC2 Week 1 - Pseudocode

I missed the first class of Creative Computing. This is my attempt of the pseudocode exercise. I generally understand how a program would do this operation. My problem was working out how to make the computer realise to increase by a tone or semitone. This program is wrong because it just says "+1". I don't know how to specify a specific increase. [1]


Pitch = Note Input

// set note input

Play = Note Output

// set note output

NoteCount = Note

// note increments

If
Pitch C: Play A
Pitch D: Play B
Pitch E: Play C
Pitch F: Play D
Pitch G: Play E
Pitch A: Play F
Pitch B: Play G

// when pitch is played lower it to the relative minor

Note = Note + 1
// increment note by 1 value

Play = Play + 3
// increase the Play by three semitones to place it in the original key


[1] Christian Haines. "Creative Computing: Semester 1, Week 1. Programming & Pseudocode." Lecture presented at the Electronic Music Unit, University of Adelaide, South Australia, 1st March 2007.

AA2 Week 1 - Session Management

I know my blog is late. So for everyone who has been dieing to read it…HERE IT IS! Woohoo!

[1]

I actually missed the first week of Audio Arts because I was working. But, I was there in spirit. As I spend eight hours a day binding folders, punching sheets of paper, drilling holes in paper (drilling was actually fun) and enjoying the smell of melted plastic as I shrink wrapped books, I knew that next week I would be back at uni. Although I did enjoy the money even if it is slave labour.

The class however was on recording sessions. I have actually been lucky in the past with my recordings. I have probably done about four band recordings overall and I haven’t yet been in a situation where the band is arguing, yelling names at each other, or blaming me as the sound engineer for their own dodgy performances. We’ll see what happens in the future.

For the exercise this week, I have chosen to do the song Get Back by The Beatles. To be perfectly honest, the main reason why I chose this song was because I knew it would be pretty easy. Also I know The Beatles songs really well because they’re one of my favourite bands.

[2]

RECORDING DETAIL
Artists: The Beatles
Album: Let It Be
Track: Get Back
Style: Rock
Duration: 2’30


RECORDING LOCATION
EMU Space
Adelaide University


BAND MEMBERS / INSTRUMENTS
John Lennon - Lead Guitar
Paul McCartney - Bass Guitar
George Harrison - Rhythm Guitar
Ringo Star - Drums
Billy Preston - Electric Piano

Lead Guitar - Epiphone Casino
Bass Guitar - Hofner Bass
Rhythm - Fender Telecaster
Electric Piano - Fender Rhodes
Drums - Ludwig Drums


MICROPHONE ASSIGNMENT

Vocals - Rode NTV for lead vocals
- Neumann U87 for back up vocals

Lead Guitar - Shure SM-57

Bass Guitar - Shure Beta 52A

Rhythm Guitar - Shure SM-57

Electric Piano - Neuman U89i

Drum - Kick Inner - Sennheiser MD-421
- Kick Outer - Neuman KM-84i
- Snare Top - Rode NT5
- Snare Botm - Rode NT5 (phase inverted)
- Hi-hats - Neuman KM-84i
- Toms (2) - Shure Beta56A
- Overheads - Rode NT5

- Room Mics - 2 x Neuman U87

PROTOOLS TRACK SETUP / MICROPHONE INPUT ORDER
1. Kick Inner
2. Kick Outer
3. Snare Top
4. Snare Bottom
5. Hi-Hats
6. Tom High
7. Tom Mid
8. Overhead L
9. Overhead R
10. Bass Guitar
11. Rhythm Guitar
12. Lead Guitar
13. Electric Piano
14. Backup Vocals
15. Lead Vocals
16. Room Mic L
17. Room Mic R


EFFECTS
Lead Guitar - Reverb, Compressor

Bass Guitar - Compressor

Rhythm - Compressor, Slight Reverb, Slight Delay (small delay time / low feedback)

Electric Piano - Compressor, Reverb

Drums - Kick - Compressor
- Snare - Reverb, Compressor
- Hats - Compressor
- Toms - Compressor
- OHs - Compressor [3] [4]

[1] ‘Thumbs up’ The Fun Times Guide. http://thefuntimesguide.com/images/blogs/thumbs-up-matt.jpg (Accessed 2/3/07)

[2] 'Let It Be (Album)' Wikipedia. http://upload.wikimedia.org/wikipedia/en/2/25/LetItBe.jpg (Accessed 2/3/07)

[3] David Grice. 'Audio Arts Lecture - EMU Space'. Lecture presented in the EMU Space, Electronic Music Unit, University of Adelaide, 27th February 2007.

[4] 'Let It Be (Album)' Wikipedia. http://en.wikipedia.org/wiki/Let_It_Be_(album) (Accessed 2/3/07)