On Tue, May 20, 2008 at 2:37 PM, Kassen <
signal.automatique@gmail.com> wrote:
Thanks, while I have to still read your whole post, I kind of figured this is what you meant. Guess after a while of hearing a particular word, it starts to lose some of its meaning... I will have to read your whole post now, as it looks on first glance to be worth reading MORE than once...
If it looks like this is "hard" stuff that's entirely my fault. On some level you already know all of this; knocking on a door with the palm of your hand will sound different from how it does when you knock it with your knuckles. It'll sound different in a few ways at the same time (spectral content, volume, decay time etc) after changing a single parameter. The ways in which is sounds different could also be accomplished in other ways, like for example knocking harder.
My comment about having to read it was more because I am at work, and didn't really have time at that moment. I guess my interest in hearing your descriptions is because I don't (at least I haven't yet) tried to create a realtime interface, and my idea of "mapping" is how to control various parameters with various types of control signals. One thing that I have done is to use fractal equations (who hasn't, right) to control various parameters of a simple sinewave grain. The parameters I use are "onset, pitch, amplitude, attack slope, decay slope, phase, and placement". On the one hand, I have found some really nice combinations, but more often than not, it still feels like I am "shooting in the dark".
I have thought about trying to implement some sort of "searching" method that allows me to "audition" various random parameter set possibilities, and then use those results to "compose" something later.
Also, your comment about "changing a single parameter" can be very minimal or extremely different. I have used my same set of parameters "onset, etc..." without addressing the phase of the sinewave, and it amazes me how "dull" the sound is. Just that one parameter can make the difference between "an experiment" or a "piece of music/sound sculpture".
There's nothing new here, it's just like with so many other things one might want to put in code; you have to be concious of the phenomenon to type it up (or take it into account).
I think this concept is very similar to something that Wendy Carlos said in an interview. She had originally thought that through the use of record, she would be able to eliminate the "performer", but in doing so, she said that she found herself being forced into the role of "performer".
So to speak, to get the "ghost in the machine" to sing, she had to learn how to play the instrument.
Isn't that what we are trying to do here? Learn how to play this "granular instrument"?
Just as a thank you, I also ordered a copy of Microsound, and hope to have it next week.
Not being Curtis Roads I'm not sure exactly *how* this thanks me but I appreciate the gesture :¬). I don't think you'll regret that buy, it's the kind of book that'll be with you for years as a reference and source of inspiration.
I was thinking it was you that mentioned it on the list here, maybe it was someone else..
I will have to keep remembering this when I get to some of those parameter combinations that aren't all that good...
Mike
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