Using the SudoGlove Controller to Make “Music”
Background info:
You can download the PureData Patches for the SudoSynth from my website: http://jeremyblum.com/2011/03/25/sudosynth
Learn more about PureData here: http://www.puredata.info
Watch the Original System Demonstration: http://www.youtube.com/watch?v=RnWPoaLU1i4
Watch Uncut Trial Footage of the SudoGlove Controlling an RC Car: http://www.youtube.com/watch?v=v0QJkbFEeqc
Everything you could ever want to know about the SudoGlove Control system is available here: http://jeremyblum.com/tag/sudoglove/
Follow me on twitter: http://www.twitter.com/sciguy14
All the sound clips I used can be found here:
http://www.freesound.org/packsViewSingle.php?id=413
http://www.freesound.org/packsViewSingle.php?id=219
http://www.freesound.org/packsViewSingle.php?id=470
http://www.freesound.org/packsViewSingle.php?id=472
http://www.freesound.org/packsViewSingle.php?id=4409
http://www.freesound.org/packsViewSingle.php?id=6814
PythagorasHasPythagoreanTuning
When I first drew out the just circle of fifths, I noticed that this was extremely close to a 53 equal note per octave tuning. This allows the strings to be tuned in exact Just fourths to each other and have the tuning be close (to the pixel) with the harmonic series. The point of tuning systems is to closely match harmonic series, of which Pythagorean tunings (circle of Just 5ths) is the simplest and most ancient. This allows you to play fretlessly without a lot of inharmonic slop, because the fret width is about the same size as the inaccuracy of the touch itself. In Mugician, fretlessness was to the pixel which has inaccuracies of its own. In Pythagoras, the tuning is sub-pixel so that each spot is some reasonable ratio with fifths and octaves as prime factors (ie: 2^n * 3^m).
Shared by rrr00bb
Ziggybox – the ashtray synth :-)
Ziggybox,
by Christian Losert and Paul Schengber
At first glance, Ziggybox looks like an everyday item for smokers, which one could easily find in a living room. However, it is a synthesizer that generates and modulates sounds by placing cigarettes in the notch of an ashtray or by opening a box of cigarettes.
Through simple handling and without any prior knowledge of sound synthesis, Ziggybox enables the user to produce complex levels of synthesized music.
The aim of this project is to enable access and control of a complex, digital environment, which is not usually transparent and under-standable for the common visitor. Our intention is to show that it is possible to conceptualize the creative utilisation of computer software in a casual way, by an interface, which initially seems to be unsophisticated in its manipulation. With this, the user is able to easily approach and control the system functionality of Ziggybox.
As the use of everyday objects are familiar to all, the interface serves as an open and easily approachable invitation for use. With this type of interface, where digital and physical boarders are blurred, it helps to open up a new relationship between technology and humans.
The project utilised C++ and Open Frameworks as the basic platform. The characteristics of the sounds are changed by frequency and amplitude modulation, while the light-sensors control the sound synthesis. Our intention is also to give
the colour arrangement a special importance and the objects on the box are arranged in order to reinforce the possibility of interaction with common objects.
Supervised by Kyrill Fischer and Thorsten Greiner
Special thanks to our co-student Hendrik Putzek.
WATER SOUND IMAGES
http://www.youtube.com/watch?v=fCXZF3NiPIk
this video is from the documentary of Alexander Lauterwasser . . . WATER SOUND IMAGES and his incredible research on the effect of vibration/sound and how it creates form. You can purchase the full 2 hour DVD at www.wasserklangbilder.de
.reflection
Interative physics balls application.
This app is designed for both iPhone and iPad.
Download: free
Category: Entertainment
Released August 18, 2010
Publisher: aircord
Version 1.0 [3.9 MB]
download this app
j.mp/9WHf5s
Transmit On All Stations
Transmit On All Stations is an electronic experimental composition comprising of selected loops of electronic tonalities, rhythms and software synthesizer passages and sequences. The idea was to use the concept of the tape loop – and its software equivalent to become the foundation for compositional structure and music synthesis. Inspiration was taken from past tape loop composers, and apply their approach to create an almost semi-random combination to steer direction of a possible melodic collage. In honouring the tape loop composers of the past, this composition aims to equal their level of complexity and ingenuity. To start, several electronic loops were created. To start with, an electronic base collage loop was created. Various electronic sequences – including a ring-modulated bass sequence, sinewave pulses, mixed tones ring-modulated with a 500 Hz sinewave, a rumble reverbed rising passage, electronic pulses ring-modulated by noise, pulses modulated by a Doppler bounce effect, and a very low-frequency winding down vibration were combined to form an electronic rhythm track. This then provided a timing frame of reference for additional musical elements to be overlaid.
A bass rhythm track was constructed from the Hammerhead Rhythm Station, then spliced and re-arranged to fit the bass collage loop. Added to this was a sequence created on the MiniMogue LUXUS VST synthesizer with added Hall reverb to create depth and mystery ambience. A “choir track” was created from choir samples and string samples from the Adobe Audition 2.0 sample library. These tracks were then mixed down to a sub-master track, and a new session included a bass organ tone created on the Krakli Cygnus SF VST Space Synthesizer. The Cygnus Space Synth is incredible for ambient space sounds and other-worldly effects, and it is possible to create totally unique FM tones that are dynamically variable within the sound itself. The Cygnus synthesizer also created the atmospheric tones that are faded up periodically to create interest. Some of the tones sound like space sirens or whales – quite an eerie combination. The Cygnus also created the ending electronic tonalities – something like a Forbidden Planet-like electronic sequence. This then provided the final mix of the composition. The whole work is really an exercise in loop development, but other aspects reference ambient experimental combinations. In particular the string samples almost illustrating traffic on a busy highway. The result is a strange and unusual combination with various rhythm loop and ambient textures.
The visuals include traffic scenes filmed in Sydney, Australia with various modulating coloured forms superimposed on top. The traffic scenes use a positive/negative delay to create a “cutout” like effect. Of particular note is the “rolling tube” effect. A striped pattern was modulated by a semi-circular waveform and doubled, creating a striking 3D cylinder effect. Of interest are the animated textile weave patterns – all based upon modulating coloured striped patterns then doubled with itself. The result is a surreal and steamy complex of light and modulating formations.
Neon Experiments with Bit Blob
Working the iPad
Being able to make the keysize larger in combination with octave rounding makes it easier to play without having to stare too closely at it. And I got echos working in Pythagoras too.
200e bipolar rhythm
The 250e is feeling rhythmically bipolar.
Started off as a gamelan patch, but I got distracted by the rhythmic part.
The 250’s clock is being modulated by the 266e, but the 250e is also being controlled by the PendulumRatchet, which is in a nice sexy rhythmic 3some with the 250e and 266e feeding back into each other, dirty birds.
Richard Hoadley – Gaggle, Generative Sound Interface 2010
The Gaggle prototype has been imagined, designed and developed in order to experiment personally with such interfaces, and primarily with the link between sensor (in this case ‘pings’), physical computing board (in this case Arduino) and SuperCollider audio language.
Gaggle provides an opportunity to investigate performance using Gaggle, including questions such as: * Does the number of sensors affect the nature of the interface? Does increasing the number of sensors to a point where they are difficult to control consciously affect performativity? * Does the relative position of the sensors affect the result. In particular these ultrasound sensors can interfere with each other, especially when designing for movement such as that created by dancers. * How does the type of movement to be used with the interface affect the use and design of the interface? For instance, in this case, how is the direction of the sensors affected and what difference does this make? * Interplay between physical implementation and software algorithms: for instance, does the physical nature of the interface need to be reflected in its performance results. Of course all the usual issues concerning algorithmic composition and structuring arise at this point.
More info: http://rhoadley.net/ music
DATAMASKIN
