Where Am I Now? (updated)

I am away on a short summer vacation, but where exactly am I?

where exactly am I ?Clues: The picture to the left shows one of the best known opera houses in the World. The picture on the right shows the unusual branded ATM outside the opera house.

The performance season is only five Weeks each year, there are about 54000 tickets for each season, and the typical waiting time after applying for a ticket is between five and ten years. The price for a seat with a view of the stage is between 155.00 and 280.00 Euro. There are “listening only” and “restricted view” seats which cost somewhat less.

I actually took the pictures on a past visit to this town, much earlier in the year. The trees are a lot greener now. Here is nother one of the same opera house, from a greater distance, taken with a long telephoto lens. You can tell by comparing the pictures that it is sitting on a hill.

that mystery opera house againThe first correct answer out of the hat after I return (July 21st) wins a No-Prize

Update: For a while, it looked like nobody was going to claim the award. Immediately after my return, though, I had several calls, all of them with the correct answer – so, I decided to award all of them a No-Prize, three in total.

I was in Bayreuth. The opera house is the “Festspielhaus”, donated entirely by King Ludwig of Bavaria to Richard Wagner for performing only his operas. Wagner’s fund raising skills also convinced the King to build a rather beautiful villa for him… I thought the Wagner-branded ATM is a nice cryptic reference to all this.
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First Software Instruments Test

This is probably my penultimate proof of concept piece. I successfully created a few software instruments from the sounds I recorded so far. Here is a photo collage of the ensemble:

The EnsembleAnd here is The Music (2.3 MB / 2:16 in the iPod / iTunes MPEG 4 format, opens in a new window). It’s got warts and pimples, but I know how to deal with them.

There are three software instrument prototypes involved in this: the sounds of the stainless steel gate from Oliver Plunkett Street into the English Market, a heavy metal door in Grafton Street, and one of the common litter bins… and some Waterphone samples by Todd Barton towards the end – they are available as a software instruments for the Native Instruments Kontakt player. The sound of the Waterphone seems to blend really well with my Gamelan. I am still patiently waiting for my own. Meanwhile, thanks for the samples, Todd!

One more test to go: blending between different sounds according to key velocity… and then I am all set to make music with my (hopefully) forever evolving Cork City Gamelan.
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Trash Music Update: Pitched Gongs

note: the terms for using the samples and music in this page (entirely royalty free) are laid out in this document.

The batch of samples in my previous post (the “Trash Music” link on the top of this page) contains a series of pitched notes, all derived from one single beat on the litter bin with an egg beater. I used the free audio editing software Audacity to create the different pitches. While it is possible to play tunes with those sounds, the harmonics are very complex – they don’t always match the natural overtones of a conventional musical instrument – which makes it difficult to determine the actual key.

Fixing this is a job for Metasynth, which I sometimes call my Electroacoustic Microscope. It is sort of pricy, but I can recommend it highly to anybody who makes experimental music. It is a completely self contained Digital Audio Workstation, without any plugins or MIDI features. It has allowed me to get rid of almost all of my continuously growing collection of little utilities programmed with “Patchers”: cSound, PD, Max/MSP, etc…

It has a feature called Spectrum Synth, which lets me analyze and manipulate the harmonics of individual grains of sound (Fast Fourier Transformation), recombine and blend the grains in any order (Granular Synthesis) and stretch them at the same time. I can also combine characteristics of different instruments (and voices!) with each other to create sounds nobody has heard before.

This “Gong” sound was almost embarrassingly simple to create. I stretched a single beat and filtered out some of the complex harmonics, but not all of them – they give the sound its metallic character – just enough to be able to tune it reasonably well to an unambiguous pitch. Then I instructed Metasynth to create a sequence of notes at minor third intervals, and I used Audacity to fill in the Gaps. As I am typing this, I can think of an even quicker and easier method: create three interlocking sequences using Metasynth… ah, well, next time…

Here is the result: Litter Bin Gongs (MPEG 4 audio in the iPod / iTunes format, 1.4 MB, opens in a new window). The root note of this chromatic sequence is a definite A sharp.
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Trash Music (With Samples)

note: the terms for using the samples and music in this page (entirely royalty free) are laid out in this document.

I sampled one of the “standard” litter bins around town.

litter binLitter Bin Sounds – 725 k in the iPod / iTunes MPEG 4 format, opens in a new window. There are short gaps between the sounds to facilitate cutting them apart and using them in a sample player.

The file starts with two octaves of pitched sounds at semitone intervals. Now we can play tunes on the Cork City Gamelan, in any key – well, the sounds are extremely complex and rich in harmonics which don’t belong to the natural harmonic overtones series, so, the root of the scale is difficult to determine. I tried to tune it to C, but it appears that D sharp seems to sound more like it… and Metasynth, my “electroacoustic microscope”, tells me it is G sharp. Which key works best may depend on the context – I’ll find out soon enough – but I am also going to try and manipulate the harmonics to yield more definitive pitches, and perhaps to stretch the notes a little.

There is also something resembling Castanets – GIANT Castanets, by the sound of it, and some long “Gongs” and swells,  made by stretching single beats to between 5 and 25 times the original length.

Enjoy!
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The Gamelan is now on Facebook

I don’t have any interest in maintaining a social network presence – however, it seems almost compulsory if one wants a public project to succeed. So:

The Cork City Gamelan Is Now OnFacebook!

To be allowed a proper user name and an easy to remember URL, the Gamelan needs 25 “Likes”, so, please: if you are a Facebook member, click that button in the side bar.

I said I don’t have any interest… but really, that’s putting it mildly. Let it be known to the World: The reason I made this move is peer pressure.

Update: Thanks to all the Cork Artists Collective members who clicked the button. I think I may owe Danny McCarthy a beer for that. 😉

I must now go and get a lesson on Facebook Etiquette somewhere, to see how I can reciprocate…
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The English Market: Stainless Steel Gate

note: the terms for using the samples and music in this page (entirely royalty free) are laid out in this document.

English Market Stainless Steel Gate

Entering the English Market from Oliver Plunkett Street, I pass through this gate almost every day – and it yields beautiful sounds of surprising complexity which I find really impressive when I slow them down. Here are almost three minutes of beats, with gaps between them to facilitate cutting them apart and using them in a sample player (1.4 MB, in the iTunes / iPod MPEG 4 format, opens in a new window). I struck the gate and scraped accross the bars with and egg beater and a bamboo stick.

I then made up another short proof of concept, just a few musical gestures, using only the sounds of this gate (1:46, 1.7 MB, in the iPod / iTunes MPEG 4 format). To me, it sounds like I am almost ready to start composing music for the Cork City Gamelan – after I build a few software instruments first. For this demonstration, I just made a collage of audio files. Actual software instruments give me access to some nice MIDI features, such as velocity sensitivity, pitch bending, filter and volume envelope shaping, vibrato and tremolo, just about anything a good sampler can do.
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The Zoom H2 Recorder

To collect sounds for the Cork City Gamelan, I use the Zoom H2 Handy Recorder. It is small, robust and easy to operate at a basic level for field recordings, while providing an extensive set of additional features. It looks like this (catalogue picture):

a very important piece of enabling technology
Before I continue: Please note, this is not meant to be a full scale technology review. It really only covers briefly what I find important for the kind of work a sound artist or composer working with field recordings may be interested in.

It has four cardioid microphones built in, one pair facing the front at a 90 degree angle between the two, and one pair facing the rear at 120 degrees between them. It allows me to use either of the two pairs for stereo recordings, or all four mics together to record surround soundscapes. For close-mic recordings, such as my Gamelan Sounds, I use the front, for everything else I use the back.

It uses SD memory cards by default, and can it can also use SDHC cards. My 4 GB SDHC cards hold more than 6 hours of better than CD quality sound recordings. It comes with a 512 MB SD card, which is very important to hang on to, even though it may seem pointless: you’ll need it to update the Operating System – SDHC cards won’t work.

I can set the sensitivity to three discrete basic levels and make manual fine adjustments within each level, or set it to detect the sound level automatically. It can even pause and continue, according to whether it detects a sound or not. For this project, I always use the lowest setting and manual levels adjustment.

It can record PCM audio at up to 24-bit resolution and 96 kHz sample rate! It can also record directly into MP3 files.

The sounds can be sorted into different folders, with the exception of surround sound recordings. Connected to my computer, it mounts as a hard drive, and I can simply copy the files by dragging and dropping them. I can also delete them from my computer, just like any connected external drive. This is quite slow, compared to, say, my camera. A card reader would help. I can also use it as a USB microphone an record directly onto a laptop computer.

It runs on AA size batteries, off the mains via a dedicated power adaptor, or off the USB bus when it is connected to a computer.

I find the dynamic range, clarity and stereo separation superb. The high frequency response is excellent, the low frequency response – let me call it “adequate”. The low pitch sounds are all there, but the level rolls of more than I like and may need some boosting afterwards.

It ships with a wind shield, a little table top stand, and a screw-in handle. It also fits on my camera tripods, so it will probably also fit on most microphone stands. As far as I know, the screw threads on both are the same.

I have two little niggles:

1) It is highly touch sensitive. I generally use it with the handle, and even the slightest rub with a finger can spoil a recording, even at the lowest sensitivity setting. A tight grip is essential.

2) I find the information screen way too small.

I bought mine three years ago for 200.00 Euro. The price has dropped since then – they can now (Summer 2011) be had for about 150.00 (or less, if you shop around online).
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How It All Started

note: the terms for using the music in this page (entirely royalty free) are laid out in this document.

Almost three years ago, in July 2008, I bought a flash memory field recorder to replace my defunct cassette tape field recorder after 19 years of loyal service. It is a Zoom H2 (I wrote an article about it), a neat, simple to operate compact piece of technology, capable of recording over three hours of 4-channel surround sound, or up to a little over 6 hours in Digital Vido sound track format (better than CD audio). It’s one of the enabling technologies for the Cork City Gamelan.

I put it to the test almost immediately, recording some noises made by my friend and neighbour Paul’s almost classic (1991) Mercedes: door closing, engine starting up, and the horn.

Paul's CarI created melody and bass  notes from the beep of the hon, and percussion beats from the rest of the sounds. Then I composed this little ditty (885 KB in the iPod / iTunes MPEG 4 format).

It was a sort of “proof of concept”: it is possible to create music from tiny bits of field recordings without taking ages. While it is not exactly a CCG piece (I don’t believe Paul would like me to beat this beauty with sticks and mallets), I am calling it The Grandfather of The Cork City Gamelan. Quite entertaining, isn’t it?
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Heavy Metal Music

note: the terms for using the samples in this page (entirely royalty free) are laid out in this document.

Here is a picture of the first percussion instrument I sampled for the Cork City Gamelan, in all its ugly glory: A heavy metal door in Grafton Street.

my first Cork City Gamelan instrumentI struck it with an egg beater and with my fist, recorded the sounds and processed them  to sound like this: Grafton Street Metal Door (280 KB, opens in a new window). The file is in the iTunes / iPod format (MPEG 4 audio) – most browsers can handle it. If it opens in the Quicktime browser plug-in, then you can download it from the pop-up menu in the bottom right hand corner of the player – this may be different for other media players.

Download the file, if you wish, and play with the sounds. There are short breaks between the individual beats to facilitate cutting them apart and using them in a sample player. Feel free to use them in any project, commercial or otherwise, but do credit the Cork City Gamelan as an instrument, a resource, or a collaborator and supply the URL: http://www.corkcitygamelan.ie

Some of the sounds are as I found them, others have had their pitch or duration changed. I find it fascinating to hear what happens when I stretch a short but complex sound to maybe five times its original length. Beyond a certain point, though, artifacts which were not present in the original recording are created – but I stop before this happens. Generally, when I make music, “anything is valid”, but for the Cork City Gamelan, I want to stick with what I actually recorded.

There is not much difference between some of the beats. For sampler instruments, I believe, it is a good idea to have access to several different versions of each sound, especially short ones which may be repeated rapidly. If each beat or note in a rapid repeat sequence is the same as all the others, this can create a “machine gun” effect, which is great for some styles of music – but more often than not, it sounds quite nasty.

enjoy and have fun!
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But… Is It Music?

Interesting, but… is it music? I often get reactions like this to my work.

What can I say? I generally reply that if it is made on purpose from sounds (including silence) by somebody with the intention to make music, then I call it music – whether I like it or not has nothing to do with it.

See, many people seem to say things like this is not music when they really mean I don’t like it. If they had said I don’t call this “music” or I don’t hear it as music, then I couldn’t argue.

Wikipedia has a substantial article about the definition of music (the page will open in a new window) with many links to articles on related issues – well worth reading, in my opinion, but way too much to analyze in any great detail here. Edgar Varèse’s simple description sums it all up for me: He looks at music as “organized sound”. It seems pretty much in line with my own feelings about it, if “organized” implies deliberation and intent… and as I think about it: doesn’t “organized” in this context mean pretty much the same as “composed”?

Here is my favourite example of “music” as opposed to “not music”, and it is the most extreme case I can think of: Say, You are listening to the birds singing. By almost anybody’s standards, that’s a very musical sound, yet, I wouldn’t call it music. It has not been deliberately organized, or composed, with the intent of making music. Now, you activate your field recorder, record a minute or two of it, play it back to me and say that this is some music you just made. I’d have no problem with that.

What the “bird song” actually means, now… that is a different story all together. I imagine that if I could understand it, I’d be hearing things like “one step closer to my nest, and I’ll peck out your eyes” …  😉

Anyway, I rest my case for now – but but I shall have a lot more to say on this highly controversial topic.
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