Home Turf

Back on our home turf, an exploration of stereo miking techniques was undertaken. The nice string quartet who put up with our struggles from the previous week, again aided us in our pursuit of different colours and textures. Seven microphones were set up and sent to eight channels. The Rode NT4 has a permanent x/y configuration. Thus, it is one microphone with dual capsules and is sent to two channels. The placement of the microphone is central. Therefore the capsules point 45º left and right towards the musicians. The best sounding microphones, as expected were the Neumann U87s. They gave a richer sound, but only provide a stereo spread. It was hypothesised that a centrally located microphone in addition to the Neumann pair would create a superior image of the string quartet. Issues I need to watch out for in similar instances include perception of space and distance, and also the left/right positioning of microphones.

Neumann U87

Making sound was the primary focus of SuperCollider (SC) in week 6. Digital sound as opposed to acoustic sound. The sounds that I have explored so far are all noise generators, which are UGens. It is worthwhile viewing these sounds with the SC stethoscope. Thus, I receive visual representations of the noise waves. To use the stethoscope, I need to boot the internal server first. It is interesting to note that the waveforms move from right to left.

The sounds created with SC could be unrelenting, except for the Apple-period command. There is no such command in David Harris's first hour period of Forum. The second piece played was 'Ensembles for Synthesiser' by Milton Babbitt, which uses integral serialism. Therefore, every aspect of the composition is controlled via serialism, and it is unrelenting in its chaos. The amount of control is extreme and results in extreme chaos. This chaos provides a Musique Concrete feel without having to cut and splice tape. Barry Truax produced an awesome real-time granular synthesis piece from his 'Wings of Nike' album. The layering of sound is incredible and the short duration compared to Babbitt and Varese's works created a significant impression. Electronic music does not have to be long. After listening to long pieces, I expected to hear Truax's piece go on for much longer. I was surprised, but it definitely worked.

Learning some of the history of electronic music from the Elder School of Music perspective and how music technology has been attempted to be defined over a significant period was a good beginning to the first panel discussion in Forum. 'What is Music Technology?' is always going to be an interesting topic and some of Dr. Carroll's comments relating to its hybrid nature, and amalgam of disciplines were stimulating. Music Technology has no singular outcome like someone studying the violin has. However, as was mentioned, “coverage is the enemy of understanding.” The ending of the discussion frustratingly diverged away from the topic to people's particular concerns over the nature of Music Technology at Adelaide University. Much of what was said was familiar and has been discussed before.

On a separate issue, what is the correct word: micing or miking?

References:
Grice, David. 2006. Stereo Miking. Tutorial presented at the Electronic Music Unit, University of Adelaide, 4 April.

Haines, Christian. 2006. SuperCollider (3). Tutorial presented at the Electronic Music Unit, University of Adelaide, 6 April.

Harris, David. 2006. No Title. Workshop presented at the Electronic Music Unit, EMU Space, University of Adelaide, 6 April.

Whittington, Stephen, Carroll, Mark, and Louth-Robbins, Tristan. 'What is Music Technology?" Forum presented at the Electronic Music Unit, EMU Space, University of Adelaide, 6 April.