Super Bonus Special End of Semester Edition Blog
Catchup classes popped up like mushrooms in the week following week 12. Around 8.35 on a cold, but not wet tuesday morning I found myself zigzagging from King William Street to the other end of Wakefield Street. Rounding the corner from Hutt Street, I located Fat Trax recording studio, which was to be my Audio Arts 
destination for the next 2.5 hours. It was a fascinating insight into a real professional recording studio. The mixer was incredible and the quality of sound was amazing. The amount of work that went into setting up the studio was enormous, with all the soundproofing. Being able to block out the sound of the V8s at that particular part of Adelaide shows that there are some smart people around. The period spent at Fat Trax gave us all a significant amount of time to ask questions about anything concerning us. Subsequently, I am kind of concerned by the limited amount of work in Adelaide, as bands tend to travel to Melbourne to record. David assures us that we do have decent facilities in Adelaide, and that the live room in the EMU is actually better than his live room. My recordings (surprisingly) were made in the EMU live room. They are due on wednesday, so heaps of work left to do on them. I hope I can remember how to properly bus and automate plugins. These things take time, and time is starting to run short. So, stay tuned for the songs being posted on What's In the Stew.
Talking (thinking) about tech projects means that there is still a major project to be done. I have to come up with a plan on how I'm going to create a 6 minute electroacoustic composition in SuperCollider. The catchup class focused on the UGens Mix.ar and Array.fill. These items are great for creating more dynamic sounds, and they are placed inside SynthDefs. They create multiple, varied sound sources or so I'm led to believe. Producing harmonic series and relations are very much doable with these UGens.
It was an interesting mix of music for listening in the catchup for Forum workshop. In particular, the train pieces caught my attention. This could be attributed to my 2-year old nephew's love of trains. However, I think it may be due to seeing Different Trains performed earlier this year at the Project 3 concert. Like I mentioned in an earlier entry, creating a musical piece that is both complimentary and sympathetic to a tape piece is pretty incredible. By the way Steve Reich composed it and the Kronos Quartet were the musical group playing it. D.Harris mentioned that there is a recorded quartet part on the tape as well as the live playing by the quartet. As I have seen this played, I had some thoughts about acquiring the score. When the musicians acquire the quartet score, do they get the tape section as well? Steam Music by Tristram Cary was a tape pastiche, which I found interesting (a word that I use a lot). I liked the colours made by the trains. Maybe, we should go the National Railway Museum at Port Adelaide and try to recreate Steam Music. On that note, my weekly entries for the semester are now complete. Sound files of my minor and major projects are coming very soon.
REFERENCES:
Grice, David. 2006. Studio Tour (Fat Trax) . Tutorial presented at Fat Trax, 6 May.
Haines, Christian. 2006. SuperCollider (10). Tutorial presented at the Electronic Music Unit, University of Adelaide, 8 June.
Harris, David. 2006. Listening (10). Workshop presented at the Electronic Music Unit, EMU Space, University of Adelaide, 8 June.
Albums that made this blog possible:
The Deluxtone Rockets by The Deluxtone Rockets,
Everything Goes Numb by Streetlight Manifesto.
destination for the next 2.5 hours. It was a fascinating insight into a real professional recording studio. The mixer was incredible and the quality of sound was amazing. The amount of work that went into setting up the studio was enormous, with all the soundproofing. Being able to block out the sound of the V8s at that particular part of Adelaide shows that there are some smart people around. The period spent at Fat Trax gave us all a significant amount of time to ask questions about anything concerning us. Subsequently, I am kind of concerned by the limited amount of work in Adelaide, as bands tend to travel to Melbourne to record. David assures us that we do have decent facilities in Adelaide, and that the live room in the EMU is actually better than his live room. My recordings (surprisingly) were made in the EMU live room. They are due on wednesday, so heaps of work left to do on them. I hope I can remember how to properly bus and automate plugins. These things take time, and time is starting to run short. So, stay tuned for the songs being posted on What's In the Stew.Talking (thinking) about tech projects means that there is still a major project to be done. I have to come up with a plan on how I'm going to create a 6 minute electroacoustic composition in SuperCollider. The catchup class focused on the UGens Mix.ar and Array.fill. These items are great for creating more dynamic sounds, and they are placed inside SynthDefs. They create multiple, varied sound sources or so I'm led to believe. Producing harmonic series and relations are very much doable with these UGens.
It was an interesting mix of music for listening in the catchup for Forum workshop. In particular, the train pieces caught my attention. This could be attributed to my 2-year old nephew's love of trains. However, I think it may be due to seeing Different Trains performed earlier this year at the Project 3 concert. Like I mentioned in an earlier entry, creating a musical piece that is both complimentary and sympathetic to a tape piece is pretty incredible. By the way Steve Reich composed it and the Kronos Quartet were the musical group playing it. D.Harris mentioned that there is a recorded quartet part on the tape as well as the live playing by the quartet. As I have seen this played, I had some thoughts about acquiring the score. When the musicians acquire the quartet score, do they get the tape section as well? Steam Music by Tristram Cary was a tape pastiche, which I found interesting (a word that I use a lot). I liked the colours made by the trains. Maybe, we should go the National Railway Museum at Port Adelaide and try to recreate Steam Music. On that note, my weekly entries for the semester are now complete. Sound files of my minor and major projects are coming very soon.
REFERENCES:
Grice, David. 2006. Studio Tour (Fat Trax) . Tutorial presented at Fat Trax, 6 May.
Haines, Christian. 2006. SuperCollider (10). Tutorial presented at the Electronic Music Unit, University of Adelaide, 8 June.
Harris, David. 2006. Listening (10). Workshop presented at the Electronic Music Unit, EMU Space, University of Adelaide, 8 June.
Albums that made this blog possible:
The Deluxtone Rockets by The Deluxtone Rockets,
Everything Goes Numb by Streetlight Manifesto.
posted by Adrian @ 12:41 pm
2 comments
2 Comments:
I wish I had gone to fat trax with you that day. You would have all been infected by my germs, but at least I would've got to listen to all the nice equipment David raves about. On another note, where's the code? I came here to be inspired, I demand some code with my stew :)
There's supposed to be some earth shattering code! ...it exists. Look down to the 'Will it Click?' entry and you will find some fresh code and a sound example. They were posted this weekend.
The stew is nearing completion. Be inspired.
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