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13.01 Sound Art Workshop 2nd Meeting

Check-in: [12:00, 15min] 1

  • How’s everybody doing?
  • Confirm that all recordings are uploaded to the shared gDrive
    • make recordings of any that are missing
  • video of Lucy Raven’s “Demolition of a Wall (Album 2)”, from Pittsburgh Carnegie Art Museumexternal link
    • interaction of multiple elements
    • speaker selection & placement
    • challenges of sound art in trad institutional settings

Activity: preliminary sculpture install [12:15, 45min]

Initial placement of sound sculptures in the installation room

  • Arrange sculptures in the space, paying exclusive attention to their sound
    • individually, how does each one interact with the space? adjust as necessary.
    • collectively, how do they interact with each other? adjust
  • Introduce interactive (motion sensor) and sequenced triggering
    • look for ways to use these to balance the overall sound environment

Homework review: [1:00, 45min]

Listen to student recordings of their sculptures (homework)

  • Blind listen, identify artist by sound only
  • In prep for multichannel authoring session categorize:
    • Continuous or intermittent - suggests use as either bed or foreground sound
    • Pitch - to guide combinations of sounds that remain distinct
    • Volume

Lecture/instruction - Multichannel nuts & bolts: [1:45, 30min]

Overview of multichannel hardware setup:

  • 8-channel circular speaker array (x/y, no z for overhead)
    • distinct from 5.1 or 7.1 video, which divides frequencies between sub(s) & mid/highs. x.1 requires specialized expensive software (Sony Sony Blu-print & Vegas, or Minnetonka’s Surcode)
    • also different than Ambisonics, which addresses a full spherical sound environment, but is encoded/decoded)
  • Computer sound output (from either authoring software or DAW) to a multi-channel hardware audio interface; this requires special hardware connections (firewire) and driver software.
    • Could also be mixed down and delivered via stand-alone media player (Tsunami or similar)
    • for soundscapes that don’t require tight synchronization, individual media players are another option
  • Listen to a fixed-media multi-channel composition incorporating environmental sounds (examples from The World Soundscape Project)

Lecture/instruction - Multichannel nuts & bolts: [2:45, 30min]

Introduction to SpaceControl simplified multi-channel authoring tool (how-to).

  • SpaceControl is a simplified tool for the creation of multichannel audio, with control over the panning of sounds around a multi-speaker array
  • Quickstart video: https://www.youtube.com/watch?v=hYJ57K_lLjAexternal link
    • Load a soundfile using “open” on any of the available channels
      • (stereo files will load into 2 channels by default; we can delete the second one)
    • Entire (5min) clip displays in lower panel
    • Click bar at top of lower panel to add “nodes”; software adds corresponding nodes in round vector/map
    • click & drag nodes in vector map to move sound in space, around speaker array
    • click & drag nodes top of lower panel to move them forward/backward in time
    • Green line towards the top of lower panel represents volume
      • click on the line to add a volume node (shiftclick node to remove)
      • drag node downward to lower volume
      • typically several nodes are added to lower or raise volume of just a segment of the sound
    • on right side of lower panel is a tiny vertical slider to zoom in/out on time scale - zoom in to make fine adjustments
  • More advanced tools (like SPATexternal link , developed at IRCAM and now available via Ableton or MAX) allow for more detailed manipulation of spatialization, including reverb and filtering to more realistically simulate distance effects.

Activity: Multichannel Sound Authoring [3:15, 1hr]

Once we have a basic handle on using the tool to manipulate sounds in space, we’ll combine our sounds into a group project on a single computer connected to the array, sharing authoring.

  • Collectively come up with a compositional structure or strategy (overall arc, sequencing, background/foreground sounds, conceptual spatial map for placement in speaker array).
  • Create a graphic score/storyboard to use as a map for our sound installation
  • Working collectively (or small groups), we will import our sounds in SpaceControl, and assign positions and movement/trajectories within an 8-channel speaker array

Activity: Finalize installation [4:15, 30min]

Play the multichannel recording in the room together with the activated sound sculptures. Listen and evaluate resultant sonic installation/environment. Adjust as time allows, being sure to listen after each change.

  • Listen with your eyes closed. In pairs, take turns trying to navigate the space with eyes closed (buddy responsible for preventing collision/injury).
  • Notice the juxtaposition of the original sounding objects and their matching recorded sounds - how do they interact, and/or inform each other?
  • Overall, listen for coherence/balance (elements working together) as well as contrasts. Similar or differing volumes? Complementary tonal ranges? etc…

Closing Discussion: [4:45, 15min]

  • Immersive nature of sound (installation vs sculpture)
  • Juxtaposition of live vs. recorded sound art, differences in affect
  • Acousmatic listening (where sound source is not identifiable)
  • Musique concrete (acousmatic) vs environmental composition (referential)

Questions

Students are ENCOURAGED to contact Bob Drake with any questions or concerns.

References


  1. All content written by Bob Drake, included with permission and slightly modified to fit into course formatting. ↩︎