Homemade Sequencer

Expansion of Homemade synth:

Also managed to get it controlling a Monotron:

Homemade synth.

I am google translating in a room

I am sitting in a room different from the one you are in now. I am recording the sound of my speaking voice and I am going to play it back into the room again and again until the resonant frequencies of the room reinforce themselves so that any semblance of my speech, with perhaps the exception of rhythm, is destroyed. What you will hear, then, are the natural resonant frequencies of the room articulated by speech. I regard this activity not so much as a demonstration of a physical fact, but more as a way to smooth out any irregularities my speech might have.

Ek sit in ‘n kamer wat verskil van die een wat jy nou. Ek is die opname van die klank van my spreektijd stem en ek gaan dit om terug te speel in die kamer weer en weer totdat die resonante frekwensie van die kamer self te versterk sodat ‘n skyn van my toespraak, met miskien die uitsondering van ritme, word vernietig. Wat jy sal luister nie, dan, is die natuurlike resonante frekwensie van die kamer verwoord deur middel van spraak. Ek beskou hierdie aktiwiteit nie soseer as ‘n demonstrasie van ‘n fisiese feit, maar meer as ‘n manier om enige ongerymdhede uit te stryk my spraak kan hê.

Unë jam ulur në një dhomë të ndryshme nga ajo që ju keni tani. Unë jam regjistrimin tingujt e zërit tim që flet dhe unë jam duke shkuar për të luajtur në dhomën e pasme përsëri dhe përsëri derisa frekuenca tingëllues e dhomës vetë të forcohet në mënyrë që një pamje e fjalës sime, me përjashtim ndoshta së ritmit të shkatërrohet. Çfarë ju do të dëgjoni, pra, janë frekuenca natyrore tingëllues e dhomës artikuluar nga fjalimi. Unë konsideroj këtë aktivitet jo aq shumë si një demonstrim i një fakti fizike, por më shumë si një mënyrë për të zgjidhur ndonjë parregullsi fjala ime mund të ketë.

أجلس في غرفة مختلفة عن تلك التي لديك الآن. أنا تسجيل الصوت من صوتي يتحدث وانا ذاهب للعب في الغرفة الخلفية مرارا وتكرارا حتى الترددات التي تحمل مسحة من الغرفة نفسها إلى تعزيز بحيث صورة لخطابي، باستثناء ربما من وتيرة الانهيار. ما ستسمع، إذن، هي الترددات الطبيعية الرنانة من الغرفة التي عبر عنها الخطاب. أنا أعتبر هذا النشاط لا بقدر ما هو دليل على حقيقة مادية، ولكن أكثر كوسيلة لحل أي مخالفات قد يكون خطابي.

Եմ նստել մի սենյակում, այլ նրանց, որ դուք հիմա. Ես արձանագրում է լսում եք իմ ձայնը, եւ խոսում ես խաղալ հետեւի սենյակում կրկին ու կրկին, մինչեւ հնչող հաճախականությունը սենյակում իրեն ամրապնդել այնքան, որ պատկերը իմ ելույթում, բացառությամբ, թերեւս ԵԽԽՎ փլուզման. Ինչ պիտի լսեն, ապա, բնական արձագանք առաջացնող են հաճախականությունը սենյակում հոդակապավոր է խոսքը. Սա ես համարում եմ, քանի որ այն ֆիզիկական գործունեությունը վկայում է այն փաստը, այլ որպես միջոց Ղարաբաղի որեւէ խախտումներ, որոնք կարող են լինել իմ ելույթը.

Mən indi bir otaqda oturub, amma onlara? Oda tezliyi özləri gücləndirmək qədər mən səs, səs qeyd və mən təkrar geri otaq oynayan söhbət alıram ki istisna olmaqla, bəlkə AŞPA dağılması ilə mənim söz image. Onlar, sözü ilə ifadə otağının təbii resonant tezliklərin var, nə eşitməzlər. Bu, hesab edirəm ki, kimi fiziki fəaliyyət, amma Qarabağ vasitəsi mənim çıxış ola bilər ki, hər hansı bir pozuntu kimi faktı ilə sübut edilir.

Gela batean eseri, baina? Burua indartzeko, gela-tasa, ahots grabaketa bozkatu dut, eta gela bat atzera jotzen buruz hitz egiten ari naiz, agian nire hitza erritmoa kolapsoa irudia izan ezik. Dituzten promesa, entzuten dutena gela, oihartzun maiztasun naturalak dira. Honek, jarduera fisiko gisa, uste dut, baina nire modu Karabakh, Izan ere, hala nola urratzen duen edozein agerian daiteke.

Сядзі ў нумары, але гэта? Каб умацаваць сябе, нумары, я галасаваў за запіс голасу, а ў задняй пакоі, што я кажу, за выключэннем, можа быць, мае словы тэмпамі развалу. Іх абяцанне, што яны чуюць у пакоі з уласных частот з’яўляюцца рэзананснымі. Аднак, як фізічная актыўнасць, я думаю, але мой спосаб Карабаха, на самай справе, любое такое парушэнне можа быць паказана на малюнку.

রুমে বসুন, কিন্তু এটি? নিজেকে মজবুত, রুম, আমি ভয়েস রেকর্ডিং জন্য ভোট দিয়েছেন, এবং ফিরে রুমে, আমি বলতে, ছাড়া, সম্ভবত, দ্রুত আমার শব্দ ভেঙ্গে. তারা যে অঙ্গীকার তারা প্রাকৃতিক ফ্রিকোয়েন্সি রুম থেকে শুনতে হয় মধ্যে ধ্বনিত - প্রতিধ্বনিত. শারীরিক কার্যকলাপ হিসাবে যাইহোক, আমি মনে করি, কিন্তু Karabakh আমার পথ, সত্য, কোনো যেমন লঙ্ঘন দেখানো হতে পারে.

Седнете стая, но тя? Силната стаята, аз гласувах за запис на глас, и се върна в стаята, аз казвам, с изключение, може би, една кратка почивка думата си. Те обещават, че те ще чуете от стаята на естествената честота на резонансната. Като физическа активност, обаче, мисля, но Карабах ми пътят, и истината, всяко такова нарушение може да бъде показано.

Cada habitació, però? La càmera cuirassada, he votat a favor de la gravació en veu alta, i va tornar a l’habitació, que dir, excepte, potser, un breu descans de la seva paraula. Ells prometen que escoltaran a la freqüència natural de ressonància de la sala. Com a exercici, però, crec, però em Karabakh camí, la veritat, aquesta violació es pot mostrar.

每间客房,有关系吗?库,我投了录制响亮,回到房间说,从他的话也许除了短暂的休息。他们答应听的自然共振频率的房间。然而,作为一个练习,我想,但我卡拉巴赫方式,真理,这种违反可以显示出来。

每間客房,有關係嗎?庫,我投了錄製響亮,回到房間說,從他的話也許除了短暫的休息。他們答應聽的自然共振頻率的房間。然而,作為一個練習,我想,但我卡拉巴赫方式,真理,這種違反可以顯示出來。

Svaka soba odnos? Knjižnica, sam baci snimanja glasno, natrag u sobu i rekao, iz njegovih riječi, osim možda kraće stanke. Obećali su da slušaju prirodnog rezonantnoj frekvenciji sobi. Međutim, kao vježbu, pomislio sam, ali način na koji sam Karabah, istina, kao kršenje može biti prikazana.

Každý pokoj vztah? Knihovna, jsem cast nahrávání nahlas, zpět do místnosti a řekl, podle jeho slov, snad s výjimkou přestávky. Slíbili, že poslouchat přirozené rezonanční frekvence v místnosti. Nicméně, jak cvičení, jsem si, ale jak jsem Karabach, to je pravda, jak porušení lze prokázat.

Hvert værelse forhold? Bibliotek, jeg Cast Recording ud, tilbage ind i lokalet og sagde, i hans ord, måske med undtagelse af pauser. De lovede at adlyde de naturlige resonansfrekvenser i rummet. Men som motion, tænkte jeg, men jeg Karabakh, det er sandt, kan overtrædelsen påvises.

Elke kamer voorwaarden? Bibliotheek, Ik Cast Recording uit, terug de kamer in en zei, in zijn woorden, misschien met uitzondering van pauzes. Ze beloofden de natuurlijke resonantiefrequenties van de kamer te gehoorzamen. Maar als oefening, dacht ik, maar ik Karabach, dat het waar is, kan de overtreding wordt vastgesteld.

Each room conditions? Library, I Cast Recording, back into the room and said, in his words, perhaps with the exception of breaks. They promised the natural resonant frequencies of the room to obey. But as an exercise, I thought, but I Karabakh, it is true, the violation is detected.

Ĉiu ĉambro kondiĉoj? Biblioteko, mi Forpelu Registrado, reen en la ĉambro kaj diris, per siaj vortoj, eble kun la escepto de paŭzoj. Ili promesis al la natura resonante oftecoj de la ĉambro por obei. Sed kiel ekzerco, mi pensis, sed mi Karabaĥo, estas vera, la seksperfortado estas detektita.

Igas toas tingimustel? Raamatukogu, ma Cast Recording, tuppa tagasi ja ütles, et tema sõnad, võib-olla välja arvatud vaheajad. Nad lubasid loomulik resonantssagedusest tuba kuuletuda. Aga nagu kasutamise, ma arvasin, kuid ma Karabahhi, see on tõsi, õiguserikkumist ei avastatud.

Bawat kuwarto kondisyon? Library, Cast ko Recording, pabalik sa kuwarto at sinabi, sa kanyang mga salita, marahil, maliban sa mga break. Ipinangako nila sumunod sa natural matunog room. Ngunit tulad ng ehersisyo, naisip ko na, ngunit Karabakh ko, ito ay totoo, walang paglabag nakita.

Jokaisessa huoneessa ehdot? Kirjasto, minä Cast Recording, takaisin huoneeseen ja sanoi, hänen sanoja, kenties, mutta tauko. He lupasivat seurata luonnon kaikuva huone. Mutta kuten liikunta, ajattelin, mutta olen Karabahin, se on totta, ei loukkaa löytynyt.

Chaque conditions ambiantes? Bibliothèque, je Cast Recording, dos à la salle et dit, dans ses mots, peut-être, mais la pause. Ils ont promis de suivre la chambre de résonance naturelle. Mais comme l’exercice, je pensais, mais je suis Karabakh, il est vrai, ne viole pas trouvé.

Cada condicións ambientais? Biblioteca, lanza gravación, de volta para a sala e dixo, nas súas palabras, quizais, pero o intervalo. Eles prometeron seguir a cámara de resonancia natural. Pero, como un exercicio, penso, pero eu son Karabakh, é verdade, non viola atopado.

თითოეული გარემო პირობები? ბიბლიოთეკა იწყებს ჩაწერის უკან ოთახში და განაცხადა, მისი თქმით, შესაძლოა, მაგრამ შესვენების. დაგვპირდნენ დაიცვას ბუნებრივი რეზონანსი პალატა. მაგრამ, როგორც სწავლება, ვფიქრობ მაგრამ მე ყარაბაღში, ეს მართალია, არ არღვევს ნაპოვნი.

Jeder Umgebungsbedingungen? Die Bibliothek begann die Aufnahme zurück in den Raum und sagte, er könne nicht brechen. Sie versprachen, den natürlichen Resonanzraum zu schützen. Aber, als eine Übung, aber ich denke, Karabach, es ist wahr, ist keine Verletzung gefunden.

Κάθε περιβάλλον; Η βιβλιοθήκη άρχισε την καταγραφή πίσω στο δωμάτιο και είπε ότι δεν θα μπορούσε να σπάσει. Υποσχέθηκαν να προστατεύσει το φυσικό θάλαμο συντονισμού. Αλλά, ως μια άσκηση, αλλά νομίζω Καραμπάχ, είναι αλήθεια, δεν βρίσκεται παράβαση.

દરેક પર્યાવરણ લાયબ્રેરી? આ રૂમમાં રેકોર્ડિંગ પાછા શરૂ કર્યું અને જણાવ્યું હતું કે તેઓ નથી તોડી શકે છે. તેઓ કુદરતી પડઘો ચેમ્બર રક્ષણ વચન આપ્યું હતું. પરંતુ એક કવાયત છે, પરંતુ હું Karabakh, તે સાચું છે, એક ઉલ્લંઘન નથી.

Bibliyotèk chak anviwònman? Retounen nan sal la te kòmanse anrejistreman, li di yo ke yo pa ka kraze. Li te pwomèt pwoteje chanm lan eko natirèl. Men, yon parad, men mwen Karabakh, li se vre, se pa yon vyolasyon.

ספרייה כל סביבה? כשחזרתי לחדר התחיל הקלטה, הוא אומר להם שהם לא יכולים לשבור. הוא הבטיח לשמור על תא תהודה טבעי. אבל מצעד, אבל אני קרבאך, זה נכון, אינו פרה.

प्रत्येक वातावरण लाइब्रेरी? जब मैं कमरे रिकॉर्डिंग शुरू करने के लिए लौट आया, वह उन्हें बताता है कि वे नहीं तोड़ सकते. वह प्राकृतिक अनुनाद कक्ष बनाए रखने का वादा किया. लेकिन परेड, लेकिन मैं Karabakh, यह सच है, एक गाय नहीं है.

Könyvtár minden környezetben? Amikor visszatért a szobába, hogy indítsa el a felvételt, azt mondja nekik, hogy nem tudnak megtörni. Megígérte, hogy fenntartsák a természetes rezonancia kamra. De a felvonulás, de Karabah, igaz, nem egy tehén.

Directory fyrir hvert umhverfi? Þegar hann kom aftur inn í herbergi til að hefja upptöku, segir hann þeim, að þeir geta ekki brjóta. Hann lofaði að halda náttúrulega Ómun kammertónlist. En Parade, en Karabakh, þó ekki kýr.

Direktori untuk setiap lingkungan? Ketika ia kembali ke ruang untuk mulai merekam, ia mengatakan kepada mereka bahwa mereka tidak bisa istirahat. Dia berjanji untuk menjaga ruang resonansi alami. Tapi Parade, namun Karabakh, bukan sapi.

Eolaire do gach timpeallacht? Nuair a d’fhill sé ar an seomra taifeadadh a thosú, insíonn sé dóibh nach féidir leo a bhriseadh. Gheall sé a choinneáil ar an seomra athshondas nádúrtha. Ach Paráid, ach ní Karabakh, bó.

Directory per ogni ambiente? Quando tornò nella stanza per iniziare la registrazione, li dice che non può essere rotto. Egli ha promesso di mantenere la camera di risonanza naturale. Ma Parade, ma Karabakh, mucca.

各環境のディレクトリ?彼が記録を開始するために部屋に戻ってきたとき、彼らはそれが壊れていることができないと言う。彼は自然の共鳴室を維持することを約束した。しかし、パレードが、カラバフ、牛。

ಪ್ರತಿ ಪರಿಸರ ಕೋಶ? ನಾನು ಅವರಿಗೆ ರೆಕಾರ್ಡಿಂಗ್ ಪ್ರಾರಂಭಿಸಲು ಕೊಠಡಿ ಮರಳಿ ಬಂದಾಗ, ಅವರು ಅದನ್ನು ಮುರಿದು ಸಾಧ್ಯವಾಗುವುದಿಲ್ಲ ಎಂದು ಹೇಳಿದರು. ಅವರು ನೈಸರ್ಗಿಕ ಅನುರಣನ ಚೇಂಬರ್ ನಿರ್ವಹಿಸಲು ಭರವಸೆ. ಆದಾಗ್ಯೂ, Karabakh, ಮೆರವಣಿಗೆ, ಗೋ.


각 환경에 대한 디렉토리? 제가 녹화 시작하는 방으로 돌아 왔을 때, 그는이 침입되지 않습니다 말했다. 그는 자연 공명 챔버을 유지하기 위해 약속했다. 그러나, 카라 바흐, 퍼레이드, 말하라.

ລະບົບສໍາລັບແຕ່ລະສະພາບແວດລ້ອມ? ໃນເວລາທີ່ຂ້າພະເຈົ້າໄດ້ມາກັບຄືນສູ່ການເລີ່ມຕົ້ນການບັນທຶກການຫ້ອງວ່າບໍ່ invade. ທ່ານສັນຍາເພື່ອຮັກສາ chaembeoeul resonance ທໍາມະຊາດ ຢ່າງໃດກໍຕາມ, Karabakh, parade ນັ້ນ, ສືບຕໍ່ເດີນຫນ້າ.

System pro singulis environment? Ego cum venissem tergum in initio commemorat quod invasuri. Pollicitus es conservare naturalis chaembeoeul resonatur Vero, Karabakh, transueherentur quod, grassor.

Sistēma katrai videi? Kad es atgriezos sākumā ieraksti, es iebrukt. Jūs solīja saglabāt dabas rezonanses chaembeoeul Tomēr Karabahu, parādes, ka iet uz priekšu.

Kiekvienoje aplinkoje sistema? Kai aš grįžo į įrašų pradžioje, aš įsiveržti. Tu pažadėjai išsaugoti natūralią rezonanso chaembeoeul Karabachą, tačiau, rodo, kad vyksta į priekį.

Секоја средина систем? Кога се вратив во почетокот на рекорд, јас ги нападне. Го вети да се сочува природната резонанца chaembeoeul Карабах, сепак, покажува дека оди напред.

Setiap sistem alam sekitar? Apabila saya kembali ke permulaan rekod itu, saya menyerang. Telah berjanji untuk memelihara resonans semulajadi chaembeoeul Barrel, bagaimanapun, menunjukkan bahawa pada masa akan datang.

Kull wieħed mill-ambjent sistemi? Meta mmur lura għall-bidu tar-rekord, I attakkat. Wiegħed li tippreserva l-Barrel naturali chaembeoeul resonanza, madankollu, turi li fil-futur qarib.

Hver av systemene miljøet? Når jeg går tilbake til begynnelsen av posten, angrep jeg. Lovet å bevare den naturlige Barrel chaembeoeul resonans viser imidlertid at det i nær fremtid.

هر یک از محیط سیستم؟ زمانی که من به برگشت به شروع از رکورد، من حمله می کنند. وعده داده است برای حفظ رزونانس طبیعی بشکه chaembeoeul، با این حال، نشان می دهد که در آینده ای نزدیک است.

Każdy z systemów środowiska? Kiedy wrócę do początku zapisu, zaatakuję. Obiecał zachować naturalną rezonansową chaembeoeul bębna, pokazuje jednak, że w niedalekiej przyszłości.

Cada um dos sistemas de ambiente? Quando eu voltar para o início da gravação ataque. Ele prometeu manter uma chaembeoeul tambor soando natural, no entanto, mostra que, em um futuro próximo.

Fiecare dintre mediul sistemelor? Când mă întorc la începutul atacului de înregistrare. El a promis să mențină un chaembeoeul naturale tambur suna, cu toate acestea, arată că, în viitorul apropiat.

Каждый из окружающей среды систем? Когда я вернусь, чтобы начать запись нападения. Он обещал поддерживать естественный chaembeoeul звуки барабана, однако, показывает, что в ближайшем будущем.

Сваки од еколошких система? Кад се вратим на почетак снимања напад. Он је обећао да одржи природни цхаембеоеул звуке бубњева, међутим, показује да се у скорој будућности.

Každý z ekologických systémov? Keď som prišiel späť na začiatok natáčania útoku. Sľúbil udržiavať prirodzený rytmus znie chaembeoeul však ukazuje, že v najbližšej dobe.

Vsaka od ekoloških sistemov? Ko sem prišel nazaj na začetek snemanja napad. Obljubil je, da se ohrani naravni ritem zveni chaembeoeul kaže, da v bližnji prihodnosti.

Cada uno de los sistemas ecológicos? Cuando volví a empezar ataque a tiros. Se comprometió a mantener el ritmo natural suena chaembeoeul muestra que en un futuro próximo.

Kila moja ya mifumo ya mazingira? Nilipoanza mashambulizi ya risasi. Yeye aliahidi kudumisha rhythm asili sauti inaonyesha chaembeoeul kwamba katika siku za usoni.

Varje system miljön? När jag började skjuta attack. Han hade lovat att upprätthålla en naturlig rytm ljud chaembeoeul visar att inom en snar framtid.

ஒவ்வொரு முறை சூழலை? நான் படப்பிடிப்பு தாக்குதல் தொடங்கிய போது. அவர் ஒரு இயற்கை தாள ஒலி chaembeoeul காட்டுகிறது பராமரிக்க வாக்களித்தோம் எதிர்காலத்தில் என்று.

పర్యావరణ ప్రతిసారీ? నేను షూటింగ్ దాడి మొదలు. అతను సహజ లయ ధ్వని chaembeoeul చూపిస్తుంది నిర్వహించడానికి హామీ ఇచ్చారు భవిష్యత్తులో.

เวลาสิ่งแวดล้อม ผมเริ่มยิงถล่ม นอกจากนี้เขายังสัญญาว่าจะรักษาจังหวะธรรมชาติของเสียงของ chaembeoeul อนาคต

Zaman ortamı. Ben her yerde çekim başladı. O da geleceğin chaembeoeul ve sesin doğal ritmini sağlamak için söz verdi.

Час навколишнього середовища. Я почав стріляти у всьому світі. Він також пообіцяв гарантувати, що природний ритм майбутнього chaembeoeul і звуку.

وقت ماحول. میں نے ہر جگہ شوٹنگ شروع کر دیا ہے. انہوں نے یہ بھی کہ مستقبل chaembeoeul قدرتی تال اور آواز کو یقینی بنانے کا وعدہ کیا ہے.

Thời gian môi trường. Tôi đã bắt đầu chụp ảnh ở khắp mọi nơi. Ông cũng chaembeoeul nhịp điệu tự nhiên và giọng nói để đảm bảo rằng tương lai hứa hẹn.

Amgylchedd Amser. Dechreuais gymryd lluniau ym mhob man. Mae hefyd yn chaembeoeul rhythm naturiol a llais er mwyn sicrhau bod dyfodol addawol.

צייט סוויווע. איך אנגעהויבן גענומען בילדער אומעטום. עס אויך טשאַעמבעאָעול נאַטירלעך ריטם און קול צו ענשור צוקונפֿט פּראַמאַסינג.

Time environment. I started taking pictures everywhere. It also tshaembeoeul natural rhythm and voice to ensure future promising.

Lucky You Here is a Mix Cassette Tape ›

Instructions: use outputs one two AND three of your language lab cassette player you got off eBay to output to one guitar amp one bass amp and one keyboard amp. open the bottle of prosecco that was just thrust into your hand, negotiate the chalice of punch and press play.

Future Obscura - White Night 2011

Interactive Wii Controlled Video Cube designed and built for The Metahub as part of Brighton’s White Night 2011 in conjunction with Beatabet. Participants could access and change the videos uploaded by the public on each face of the cube in real-time, along with a live web-cam feed and a transparent Metahub Logo.

Found Tape - Herne Hill 7/9/2011

The sight of a discarded tape at the roadside has become somewhat of a rarity over the last 10 years, and so when I stumbled across this one on the corner of Herne Hill & Ruskin Walk I couldn’t resist re-spooling it. Discarded tapes have always provided a little portal into someone else life, and often act as a rewarding time capsule - but particularly with their current scarcity I was all the more curious - who is still listening to tapes? What are they listening too? Why did they throw it out their car window?

There were no real indicators on the casing as to what the tape might contain, although the tape itself smelt strongly of perfume which it seems, had fused some parts of it together along with the dirt & leaves it had been sitting in.

After unraveling and drying the tape I salvaged what I could. The resulting recording is around 40 minutes of music (I lost around 5 minutes which just could not be recovered). In the interests of fairness to the previous owner I played half of one side and half of the other to give a decent snapshot of their abandoned tastes.

http://www.sendspace.com/file/naxc8s

Ars Electronica 2011 – Pixelspaces – The One-Handed Musical Instrument (OHMI)

Carsten Nicolai’s (DE) Modell Zur Visualisierung - a device that makes the effects of magnetic fields on a beam of electrons audible.

Last weekend I was fortunate enough to attend one of the world’s leading Media Art Festivals, The Ars Electronica Festival. I had been invited by new collaborators, The One-Handed Musical Instrument (OHMI) Trust to speak at the launch of their competition at the prestigious establishment in Linz, Austria. The OHMI-Trust was formed by Stephen Hetherington and Martin Dyke in 2011 in response to Stephen’s attempts to find an instrument his hemiplegic daughter could play at school. As a former Trumpet player with symphony orchestras, Stephen was alarmed to find that after much research there is currently no orchestral instrument that can be played with one hand – and as such has launched a competition to invent new instruments which allow for full and undifferentiated participation in musical life. Horst Hörtner, the Director of the Ars Electronica FutureLab offered OHMI a space at their Pixelspaces Conferences to bring the challenge to their talented transdisciplinary research and development team.

I arrived on the Saturday which allowed enough time to catch a tantalising glimpse of the incredible and inspirational exhibits on display at the festival, before the OHMI Conference started on the Sunday afternoon. It was clear from the outset that my expectations of encountering technologies and art of the highest level were not misplaced. I was particularly impressed with Apostolos Loufopoulos’ intense sound installation ‘Bee’, the delightfully malevolent 'Newstweek', and Mark Shepard’s subversive 'Sentient City Survival Kit', all of which were found in the OK CyberArts exhibition. After a late night meeting with Horst and fellow panellist Peter Purgathofer (Associate Professor, Vienna University of Technology) and a cycle-by sighting of Joe Paradiso (Director of the Responsive Environments, MIT Media Lab) I was all the more agog to see what the following afternoon’s discussions would yield.

Before I knew it the time had come for my curiosities to be satisfied, and an eager crowd had gathered in the Sky Media Loft at the top of the Ars Electronica Centre. Over the last 10 years, Pixelspaces has established itself as the dynamic hub of a community of artists and scientists that enables conference participants to present their work and to discuss socially relevant issues associated with it – and it did not disappoint! After Stephen had set the scene, and issued the challenge to the room it was over to Joe, Peter & myself to elucidate the matter discussing existing technologies and offer general advice to potential competitors about instrument design.

Wim Janssen’s (BE) Continuization Loop - a single 35mm film loop is pulled up and down over more than 150 guiding wheels, creating a wall of film.

I was pleased to convey the current state of assistive music technologies, their potential pitfalls and the invaluable benefits they can offer when properly applied – not to mention giving more international exposure to our Drake Music Young Ambassador, Charlotte White. Joe Paradiso took us on a whirlwind tour of delightfully obscure electronic contraptions, both commercial and from his esteemed research group at MIT. Meanwhile Peter Purkathofer got to the core of what drives us to learn a musical instrument, enthralling with his considered and insightful discussion of requisite features of any new musical instrument.

Whilst the current assistive music technologies are well developed, my experiences at Ars Electronica highlighted the fact that there is a gulf between them and technologies at the cutting edge. It is clear to see the reasons for this, particularly reflecting on my own experiences of bespoke instrument building – whilst there is clearly a demand for it, the process is decidedly time consuming and expensive and the resulting instruments often require regular upkeep and expert operators. Only time will tell what wonderful contraptions the entrants of the OHMI competition will develop, but if they reflect the design flare, knowledge base and considered application of technology that Ars Electronica is famous for – I can’t wait to start experimenting with them! 

SoundSlab

Dual resonant-surface (wood/metal) SoundSlab with 10 1/4 Jack Outputs

The SoundSlab was a commissioned bespoke instrument, original designed for creating live Foley sounds in theatre environment. Comprising of two different resonant surfaces to provide a flexible sonic palette, the SoundSlab has 10 independent 1/4 Jack outputs which are driven by a variety of different piezo elements. Essentially the SoundSlab creates a large amplified surface, upon which different Foley effects can be performed - and the responsiveness of the instrument even allows for layering of different surfaces on top of those provided.

The guts of the SoundSlab

The tautness of the surfaces can be adjusted to a certain degree using the wing-nuts which attach them to the frame adding to the sonic flexibility. Further to this the layout of the piezo element’s allows for direct and physical spatialisation of sounds if each output is attached to an independent speaker.

The SoundSlab is currently on loan to the client, however I will provide video documentation upon its return.

Hypnic Jerk 4

'Hypnic Jerk 4' was an exercise in sleep disruption and was exhibited as part of 'Schadenfreuding' in The Crypt (St Giles Church, Camberwell Church Street, SE5) between the 17th & 20th of June 2008 as part of Camberwell Arts Week.

3 x 60 minute cassettes, cassette player (60 minute improvised loop), magnetic tape, foam, card & fairy lights.

Klippus

Klippus was a clip show comprising of a wide selection of different animations both long and short, created by Hanae Seida. There were 3 episodes in total - all of which required sound design, foley recording, adr, composition and also some audio restoration. The most important factor in my mind was to create as much variety as possible in the sounds for different clips, so as to enhance the diversity of the animation. I completed the sound design for each clip separately in Logic Pro as I received them, and then I resequenced all the audio to fit the final structure of each episode providing additional sounds where necessary. The foley sounds were either from my own library or recorded especially for the project. I also composed all the music in Logic Pro (with the exception of the Klippus Intro theme which was restored from recordings from Hanae). Finally, the dialogue was restored from recordings given to me by Hanae, either captured directly from the camera or via a separate microphone - although a couple of lines were added later using adr techniques. All in all the project was a great opportunity to work through all stages of foley recording, restoration, composition and sound design.