October 8, 2021
Objectives # This post will discuss a solution adopted during group construction of a Eurorack standard modular synthesizer, which allowed for limited simulation and testing of modules despite members being in isolation. Personally, I built a Triple VCA (Voltage Controlled Amplifier) – used for multiplying signals to create interaction between parameters from various modules – and a Digital Control Voltage Sequencer, designed to program melodies using voltages sent over a timestep determined by the Clock Generator.
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July 5, 2021
Aims & Overview # This post serves as background and technical explanation for the Interactive Dance Music II system submitted for a final year 40 credit Music Technology module. It will describe the aesthetic and technical ideals researched to build an interactive music system capable of analysing and reproducing sound-motion relationships, and the historical precedent for this practice. It will also delve into the motion capture techniques used to track movement, and the machine learning techniques which correlate separate gestures and physical patterns to the extracted sound features played simultaneously with the recorded movement, taking into account its temporal and acoustic properties and reproducing the learnt patterns via granular synthesis.
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November 2, 2020
Objectives # Building on last year’s Max device, Blue Space, I would like to continue exploring technical solutions for electronic music performance. Blue Space provided an easy way to generate a granular backing track / effect for instrumentalists, with a simple set of grain controls. In this new project I would like to use a dancer’s movements to generate music, extending the ‘ease of use’ theme from Blue Space. I find the relationship between music and dancer fascinating because it makes the dancer into an instrument without necessarily introducing to them to the mechanics of how the music is produced.
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July 1, 2020
Introduction # The Entropy Cleric is a synthesizer I built in MaxMSP, including standard synth functionality – MIDI input, oscillators, portamento, variable filter, ADSR, LFO, overdrive, delay, presets – as well as a simple note generation system. This project was a very enjoyable way to gain a practical understanding of synth signal flow and individual module functionality, which will be useful for my 3rd year group project – building a analog Eurorack modular synth.
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June 8, 2020
Aims & Overview # In performing harp, I have often felt limited by the timbral possibilities presented in modern DAWs without the need for extensive post processing which cannot be performed in a live setting. Given time any number of transformations are possible; time stretching, texture generation, sample rate automation, etc. In my previous harp performances, the audio output was mostly playback from pre-recorded and arranged material with the live harp as a lead instrument, but one overshadowed by the extensive post processing used – and necessary – to create the rest of the material.
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