Jennie O

Reactable stuff

2009-03-28T13:35:00.003-06:00

I built the skeleton of the reactable this week with Branden and it's BIG! The glass will be 1m x 1m. I'm also getting the plywood to sheet it hopefully today so I can start painting it...
I got the fiducials printed onto clear vinyl with white ink, so hopefully it works, thanks to Victoria Shearer, my graphic designer for helping me out with the printing.
I'm still looking for wooden cubes, anyone have any ideas? I'm trying Michaels today...
I know I can cut them too, but I was hoping to find some pre-fabricated ones somewhere.
I want to test everything out, but I'm still waiting on the plexi, and hopefully there are no problems with the uv index of the plexi, I just found out that some plexi doesn't let black light through, which is what we are trying to use.....

Sonic Boom

2009-03-22T09:29:00.002-06:00

So I checked out Emmedia's Sonic Boom show on Friday with a few other members of ALork, to watch our professor Adam Tindale play his e-drumset, along with other sonic artists/musicians. The coolest part was that it was at the Discovery Dome at the Telus World of Science, so like a huge concave screen and intense acoustics. All of the performances were really interesting. I especially liked the group performance of all the artists called The Electron Orchestra Withdrawal. It was really cool to see Adam play the drums, because we never get to see that side of him, only tech-y glitchy computer music side of Adam. And it was really awesome to see four very different artists working so well together, they all complemented eachother without competing sounds at all. Jackson 2Bears performance was absolutely amazing though, you don't hear as much continuous rhythmic scratching in music anymore, so it was a refreshing performance, along with his unbelievable table skills. That guy can work his vinyl for sure! His DJ/VJ set discussed Native Canadian cultural stereotypes, and he used several historical film and audio samples.

I found this video on youtube of his work.

The whole show was really interesting, it was definitely not a typical Friday night!

The Reactable

2009-03-22T09:19:00.004-06:00

So Greg Debicki and I are trying our hand at building our own version of the Music Technology Group's Reactable. It's a tangible interface that recognizes shapes to create musical relationships.

Here's a demo from Berlin...

We have a couple of modifications for our version of it, for example we are going to experiment with black lights, as well as the sounds will be completely original.

I'm going to to the store to go buy the wood today and begin building the main cube.

We were wondering what material to use for the cubes...does anyone know anything about moulding rubber or plastic or anything like that? Or have any ideas of a good material to use?

ALork Composition

2009-03-16T14:07:00.002-06:00

So this morning Alex, Andrew and I discussed our upcoming performance. We all agreed the piece will sound more unified and cleaner if we either a) know what each other's patch sounds like and compose our piece accordingly or b) use similar patches to create a singular sound.
Andrew's sampler patch is looking pretty neat, and he's been working on it a ton, so we were thinking of using his patch in the performance. Maybe we can have 2 different patches with 2-3 people playing on each one, so it creates a nice layered sound?

My idea for the composition is based on a panning-type approach. There would be two different groups, with the same patches given to both groups. Both groups will follows a 16-8-4-2-1-1 bar length pattern, but alternating back and forth.
( Group 1 would play for 16 bars, then Group 2 for 16 bars, Group 1 for 8 bars, Group 2 for 8 bars, Group 1 for 4 bars, Group 2 for 4 bars, Group 1 for 2 bars, Group 2 for 2 bars, Group 1 for 1 bar, Group 2 for 1 bar, Group 1 for 1 bar, Group 2 for 1 bar)
Then everyone would play together, and decrease volume in a decrescendo until the piece goes quiet.

I thought this would be neat because it's kind of reciprocal and like panning.... I don't know what it would sound like yet though....

Music/Dancer Interactivity

2009-03-04T07:59:00.003-07:00

So the MADT Festival is over now, it ran all last week... and I can finally breathe!
The installation went up on Wednesday and ran until Friday, and it went pretty good. There are definitely many things I want to work on and expand with this project, such as more detailed motion control and more sensitive sensors, perhaps using more cameras.
But overall I was pretty happy with it, on Thursday at the opening, I had contemporary dancer Alexandra Laird do a 10 minute performance in the installation, and the sound responded beautifully to her movements. Her dance performance really demonstrated the installation to it's potential.
I want to definitely work on more dance/music interactive works, and for my Studio Seminar class, we have to choose a topic to write a scholarly paper for ( eg. for a journal or conference) and I chose to research the topic of Music/Dancer Interactivity, especially focusing on the many of the new digital and electronic motion tracking and motion capture technologies. I found a ton of great resources online, and I'm heading to the library today to see what I can find on paper.
I'll post the video of the installation when I get it uploaded!

MADT Festival Piece

2009-02-23T11:50:00.003-07:00

So the MADT fest is up and running this week at ACAD, and everyone should come check out the opening on Thursday, February 26 from 5-7 at ACAD in room 491 (the glass cube).
I have my interactive installation opening on Wednesday February 25 until Friday February 27 in room 494 (the VR lab).
I created it in both Ableton Live 7 and Pure Data, and it responds to eachother through movement pickup in the installation. The movement is tracked through a blob tracker
(a million thanks to Greg Debicki) and the results are sent through live to create responses in the environment.
Left/right movement triggers a change in tempo, and forward/back movement triggers a change in a glitching/stuttering software. The general location of the person triggers which clips to play and the more the person moves, the more clips get triggered.

I posted some pictures of my patch.

ALork Patch 3

2009-02-09T07:38:00.002-07:00

So I built upon the patch I made the first week and it's getting lots of options to control sound. The keys on the keyboard of the computer are now assigned to play keys in order of tone, like a scale. And, the attack and distortion levels are controlled by motion tracking if you have a webcam available to you. The moog filter is controlled by the mouse, so any movement creates a wobbling-like sound.

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Pixel Surgeons

2009-02-08T10:40:00.005-07:00

Since we usually do a book show and tell in our MADT Studio Seminar class, and the last two weeks we haven't met up, I'm posting my book on here.
I read Pixel Surgeons: Extreme Manipulation of the Figure in Photography by Martin Dawber. I chose it from the Public Library because I'm interested in the capabilities of digital photography beyond the traditional practices of photography. I'm in Mitch Kern's MADT Photo class right now and I really hope we learn some digital manipulation in the class, in addition to the photography essentials.
This book was really interesting, with tons of great pictures and artist biographies of current artists who are working in digital manipulation of photographs in their artistic and professional practices. A lot of the photographs I recognized from advertisement campaigns, but a lot of the artists were completely new to me. This book was excellent in illustrating the endless number of ways and forms one can use when using digital post-production tools.

I posted some of the photographs from the book, if I could find them on the internet somewhere. Respectively the photo/artist credits are ( in order from top)
Vault 49
Me Company
Me Company
Eryk Fitkau
Pixel Surgeons Book Cover (Artist Sarah Howell)

Indaba

2009-02-08T09:44:00.002-07:00

So, we are doing some online collaboration work on the website Indaba with the ALork class, and I am somewhat confused by the process.
I wasn't quite sure if I was supposed to bring in my own samples, or create my own samples or use the samples on Indaba? And, is there a cut tool or anything? Or is it just place the clip where you want?
Anyways I created an ambient style piece, and once I figure out how to export the file I will post it for sure.
Anyways the concept behind Indaba is pretty slick, and it's really neat to do online collaboration with people around the world. I'm not sure if it did for anyone else, but my Indaba froze really often, like every 2 or 3 saves, which was pretty frustrating when you are constantly re-opening the site, to re-login and everything.

Philip Glass

2009-01-29T13:33:00.003-07:00

So last week I was lucky enough to see Philip Glass a few times here in Calgary, and holy, so amazing. He spoke at ACAD last Thursday, and the lecture hall at ACAD was packed, I've never seen such a crazy turnout. And he definitely did not disappoint, his lecture was funny, entertaining, inspirational and very captivating. The range of projects and collaborations he has worked on is unbelievable.
I was also very very privileged in being able to attend the Cantos interactive tour with Philip Glass and it was definitely an experience I will ever forget. Philip Glass and Michael Riesman (his conductor) gave an amazing tour along with the Cantos staff, and played on several of the historic instruments in the collection. My personal favorite was the Ondes Martenot, and instrument I had seen in a Radiohead video once, and never knew what it was. The theremin and all the synths were pretty amazing too, they have a crazy Moog collection. We are so lucky in Calgary to have such an extensive collection of instruments, including some really famous ones ( the piano Elton John wrote Tiny Dancer on!), it's too bad no one in Calgary knows this little treasure is right under there nose!
On Friday I was spoiled once again, and was fortunately able to attend the Dracula performance with the Kronos Quartet and Philip Glass, where they played the score to the Bela Lugosi's Dracula, it was so beautiful, and I have never gotten the opportunity to see the Kronos Quartet before.
We were so lucky last week to have such an amazing influential composer such as Philip Glass in town, many thanks to the One Yellow Rabbit and the High Performance Rodeo for bringing such incredible acts. Seeing a composer such as Philip Glass talk about his creative process and his ways of composition was so exciting, and definitely shows a world of possibility within the realm of music composition and production.

ALork Patch 2

2009-01-25T14:28:00.003-07:00

ALork Patch week 2, this week the patch has a similar sound to last week's patch however, you can control the decay with the mousepad, creating a vibrato-like effect at the release of the note, when moving the mouse.

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#X connect 45 0 36 0;
#X connect 50 0 1 0;
#X connect 50 1 1 1;
#X connect 51 0 34 0;
#X connect 52 0 34 0;
#X connect 53 0 2 0;
#X connect 54 1 60 0;
#X connect 54 1 11 0;
#X connect 54 2 65 0;
#X connect 54 2 69 0;
#X connect 56 0 54 0;
#X connect 57 0 56 0;
#X connect 58 0 54 0;
#X connect 59 0 66 0;
#X connect 60 0 61 0;
#X connect 61 0 62 0;
#X connect 62 0 63 0;
#X connect 62 1 64 1;
#X connect 63 0 64 0;
#X connect 65 0 59 0;
#X connect 67 0 15 0;
#X connect 67 0 14 0;
#X connect 68 0 67 0;
#X connect 69 0 70 0;
#X connect 70 0 71 0;
#X connect 71 0 72 0;
#X connect 72 0 68 1;

A smaller ALork

2009-01-20T09:01:00.002-07:00

Yesterday, ALork met for the second time, and holy we shrunk since last week. There is only 4 members plus our instructor Adam Tindale left, it's too bad it's not larger, but everyone left in it, seems to be really interested in music and sound, and ready to work hard. Everyone made really great patches yesterday, all really different but sounding great. I'm really excited to expand my patch this week, and maybe combine with a few other patches and add some new effects/features. I'll post it when I'm done

ALork Patch 1

2009-01-19T14:22:00.000-07:00

#N canvas 132 92 1129 656 10;
#X obj 15 -505 key;
#X obj 32 32 dac~;
#X obj 19 -333 mtof;
#X floatatom 16 -448 5 0 0 0 - - -;
#X msg 60 -335 0;
#X obj 122 -300 bng 15 250 50 0 empty empty empty 17 7 0 10 -262144
-1 -1;
#X floatatom 184 -279 5 0 0 0 - - -;
#X floatatom 287 -284 5 0 0 0 - - -;
#X text 171 -308 attack dur(ms);
#X text 259 -304 decay dur (ms);
#X obj 192 -446 vsl 15 128 0 1000 0 0 empty empty empty 0 -9 0 10 -258113
-1 -1 5715 1;
#X obj 273 -449 vsl 15 128 0 1000 0 0 empty empty empty 0 -9 0 10 -4160
-1 -1 10160 1;
#X floatatom 212 -212 5 0 0 0 - - -;
#X obj 394 -294 hsl 128 15 0 80 0 0 empty empty empty -2 -6 0 8 -159808
-1 -1 9528 1;
#X obj 108 -202 dist~ 1;
#X obj 21 -165 *~;
#X floatatom 230 -43 5 0 0 0 - - -;
#X obj 192 -98 hsl 128 15 0 30 0 0 empty empty empty -2 -6 0 8 -225271
-1 -1 636 1;
#X obj 35 -100 amp~;
#X text 216 -118 volume;
#X text 407 -273 distortion;
#X obj 99 -233 ead~ 10 500;
#X obj 21 -246 osc~;
#X obj 21 -378 * 0.3;
#X obj 34 -140 fdn~ 64 40000;
#X msg 211 -176 0.5;
#X msg 749 -107 start;
#X msg 751 -81 stop;
#X text 802 -107 start streaming audio;
#X text 797 -81 stop streaming audio;
#X obj 697 -39 writesf~ 2;
#X obj 789 -198 t b b;
#X obj 801 -244 sel 1;
#X obj 882 -188 bng 15 250 50 0 empty empty empty 17 7 0 10 -262144
-1 -1;
#X msg 751 -137 open -bytes 4 /desktop/jennieLAPTOP1.wav;
#X obj 801 -275 tgl 15 0 empty empty empty 17 7 0 10 -262144 -1 -1
0 1;
#X msg 171 -174 -0.5;
#X obj 149 -138 +;
#X text 216 -118 volume;
#X obj 545 -361 +;
#X msg 549 -399 -5;
#X obj 397 -366 +;
#X msg 388 -402 -50;
#X msg 420 -401 50;
#X obj 472 -364 +;
#X msg 467 -400 -50;
#X msg 504 -400 50;
#X obj 50 -484 select 0 45 61 91 93 44 46 59 39;
#X msg 594 -400 5;
#X text 196 -296 ;
#X text 322 -291 \; /';
#X text 414 -254 [/];
#X text 269 -120 -/+;
#X obj 21 -39 fdn~ 65 60000;
#X connect 0 0 3 0;
#X connect 0 0 47 0;
#X connect 2 0 5 0;
#X connect 2 0 22 0;
#X connect 4 0 22 0;
#X connect 5 0 21 0;
#X connect 6 0 21 1;
#X connect 7 0 21 2;
#X connect 10 0 6 0;
#X connect 10 0 41 1;
#X connect 11 0 7 0;
#X connect 11 0 44 1;
#X connect 12 0 14 1;
#X connect 13 0 12 0;
#X connect 13 0 39 1;
#X connect 14 0 15 0;
#X connect 15 0 24 0;
#X connect 16 0 18 1;
#X connect 17 0 16 0;
#X connect 17 0 37 1;
#X connect 18 0 53 0;
#X connect 21 0 15 1;
#X connect 22 0 14 0;
#X connect 22 0 15 0;
#X connect 23 0 2 0;
#X connect 24 0 18 0;
#X connect 25 0 37 0;
#X connect 26 0 30 0;
#X connect 27 0 30 0;
#X connect 31 0 26 0;
#X connect 31 1 34 0;
#X connect 32 0 31 0;
#X connect 32 1 33 0;
#X connect 33 0 27 0;
#X connect 34 0 30 0;
#X connect 35 0 32 0;
#X connect 36 0 37 0;
#X connect 37 0 17 0;
#X connect 39 0 13 0;
#X connect 40 0 39 0;
#X connect 41 0 10 0;
#X connect 42 0 41 0;
#X connect 43 0 41 0;
#X connect 44 0 11 0;
#X connect 45 0 44 0;
#X connect 46 0 44 0;
#X connect 47 1 36 0;
#X connect 47 2 25 0;
#X connect 47 3 40 0;
#X connect 47 4 48 0;
#X connect 47 5 42 0;
#X connect 47 6 43 0;
#X connect 47 7 45 0;
#X connect 47 8 46 0;
#X connect 47 9 23 0;
#X connect 48 0 39 0;
#X connect 53 0 1 0;
#X connect 53 1 1 1;

ALork

2009-01-19T08:31:00.002-07:00

So it's the beginning of the new semester, and I am trying to fix up my blog a little up, and try to post more often, especially with all the exciting things happening right now.
My Monday AV for Performance and Installation class with Adam Tindale is being conducted in the form of ALork, the ACAD laptop orchestra, which is really exciting. Our first day was last Monday, and it was interesting, we're building instruments in Pure Data and then performing as a group of around 10, with individual speakers.
I'm really excited to see what kind of pieces the orchestra will actually make, and to see how the whole project goes. I'll keep posting the progress of this class.

Year End Performance and Single Release

2008-11-24T09:15:00.002-07:00

It is an exciting time of year again, and I am super busy working on some music for our upcoming performance:

ACAD Sound Performance
Weeds Cafe
1907 20th Ave NW
Calgary AB

7 pm

Free Admission

As well, I've been finishing up on some tracks for my upcoming demo single, it'll be ready in Early December....

Canadian Arts Cut Response

2008-10-28T08:45:00.001-06:00

The Giving Tree

2008-10-28T08:22:00.001-06:00

Regression

2008-10-28T08:19:00.002-06:00

A sound work created in Pure Data, then Cubase and Ableton Live.

2008-10-28T07:45:00.001-06:00

This Bitter Earth

2008-10-28T07:28:00.007-06:00

The above video, is a video work I made from open source videos from the Prelinger Archives.

Paper Planes to Hell Remix

2008-09-15T09:08:00.010-06:00

Here is a remix In Order to Danse and I made for my Remix class with Wayne Giles.
It is a remix/mashup of The Clash's Straight to Hell and M.I.A.'s Paper Planes.
We created the introduction to the two songs and the bass/synth lines under the Clash's track to make the mix have more of a dance feel.
Many thanks to In Order to Danse, I am constantly learning from these amazing Calgary producers, you can find their work at their blog

In Order to Danse

UBUWeb Sound Artist

2008-04-24T15:40:00.003-06:00

I chose the artist Dave Soldier on the website UBUwebsound, and a project he did in 1996 called The Peoples Choice Music

http://www.ubu.com/sound/soldier.html

The first track is the most "wanted" song in the human population, according to a survey Dave Soldier conducted. He had the participants choose their favorite instrument combinations. The most likeable song will be liked by 72% +/- 12% of the population. The track consists of guitar, piano, bass, male and female vocals,saxophone, drums, cello, violin and a synth. The voices are singing in rock/r&b style. Everything in the track is moderate ( volume, pitch, duration and tempo)

The second track is the most "unwanted" song. It has varying tempos, volumes and pitches and lasts almost 25 minutes long. The instruments in this track are the bagpipes, accordion, banjo, flute, tuba, harp, synth and organ. The themes in the song range from ad jingles, to christmas songs, to childrens songs. Cowboys were also a very unpopular theme. The vocals feature a soprano opera singer singing rap lyrics. Statistically less than 200 people in the world will like this track.

I chose this piece because I found it really interesting the statistics of sound. it seems almost biologically humans are drawn to some sounds more than others. However personally I really dislike the first track, and would almost rather listen to the second track as at least it is exciting. The first track sounds like the majority of music in the "soft rock" category.

Live PA Performance

2008-04-17T09:49:00.002-06:00

So the performance for my Digital Studio Discplinary class is nearing! My semester's work on Ableton Live will be shown, as well as two other local producers.
Here is the flyer for the event

Melody Project

2008-04-16T23:55:00.004-06:00

This is my final piece for Daniel Dugas's sound class, the melody assignment.
Since it is the end of the semester, and I have been focusing on learning the program Ableton Live, I decided to use Live to create my melody.
While at first I tried making the regular downtempo/ambient beats that I usually make, I found myself playing in the housey keys MIDI instrument on Live. I decided to try to create a house track, as it is a genre I am not very comfortable working within and I thought it would be an interesting challenge.
While the beats in house music follow the traditional 4/4 pattern, I found myself having to find different variations on the same beat structure, to keep the pattern consistent but not boring.
This project was challenging however really enjoyable as well as I learned a lot about the "building blocks" of house music.

Dinos!

2008-04-03T07:00:00.001-06:00

This is a project for my sound class in which I made Dinosaur sounds from other samples. I had some problems with my cubase, so I mixed it in ableton, all live! A different approach but it worked nonetheless. I used lots of animal samples off the American Fish and Wildlife websites and put audio effects such as grain delays and pitch modulation on them, and of course played with the speed. I used about 30 samples in this almost 4 minute clip. I made the sounds of an Albertasaurus, Pterodactyl, and Brontosaurus...

List of Numbers Project

2008-03-20T11:49:00.006-06:00

This project was based on a list of numbers I compiled for the date October 20, 2008, in different calenders. I broke down the digits into double digits, ie. 2008 would be 20 and 08, and then added the two digits together to make a single digit, so 2 and 8.
I then created a loop for every number, and made the loop the number of bars as the digit. I created it in Ableton Live.

Gregorian (New Style) 2008-10-20 (Monday, October 20, 2008)
Ordinal Calendar 2008-294
Week Date (ISO commercial calendar) 2008-W43-1
Julian (Old Style) 2008-10-07 (Monday, October 7, 2008)
Islamic (Moslem) 1429-10-19 (Shawwal 19, 1429)
Hebrew (Jewish) 5769-07-21 (Tishri 21, 5769)
Mayan Long Count 12.19.15.13.17
Mayan Haab --11-0 (0 Zac)
Mayan Tzolkin --17-2 (2 Caban)
French Revolutionary 0217-01-29 (De'cade Nonidi Vende'miaire 217)
Old Hindu Solar 5109-07-05 (Tula 5, 5109)
Old Hindu Lunar 5109-07-21 (As'vina 21, 5109)
Achelis' World Calendar 2008-10-20 (Friday, October 20, 2008)
Coptic 1725-02-10 (Babah 10, 1725)
Ethiopian 2001-02-10 (Teqemt 10, 2001)
Jalaali 1387-07-29 (Mehr 29, 1387)
Japanese Traditional "Kyureki" with CE 2008-09-22 (Shakku, Nagatsuki 22, 2008)
chronological Julian day number (JD) 2454760
chronological modified Julian day number (MJD) 54759
Lilian day number (LDN) 155600

Here is the final list of numbers:
2
8
1
2
2
8
2
4
2
8
7
1
2
8
1
7
5
2
1
1
3
6
7
3
3
2
6
4
8
2
8
2
2
8
1
2
6
9
7
5
6
9
7
3
2
8
1
2
8
7
2
1
2
1
2
4
6
7
2
2
8
9
4
6
9
4
9
3
9
6
4

MIDI Project

2008-03-12T22:52:00.017-06:00

Here is the Max Code for the MIDI Project for my Sound Class. I made a MIDI Controller with 3 Pads and 3 Synths, a Keyboard, and Mouse-sensitive capabilities. The max code is for the patch without the photograph background, just a plain blue background as the photo makes the text file for the patch way too long ( like 500 pages).

max v2;
#N vpatcher 60 45 1360 832;
#P origin 0 -2;
#P window setfont "Sans Serif" 9.;
#P hidden newex 83 202 58 196617 random 88;
#P hidden newex 88 173 58 196617 metro 500;
#P hidden newex 989 58 82 196617 bgcolor 0 0 128;
#P hidden button 586 165 15 0;
#P hidden button 561 206 15 0;
#P hidden newex 561 121 35 196617 sel 32;
#P hidden number 561 66 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P hidden newex 561 31 40 196617 key;
#P hidden newex 215 201 58 196617 random 88;
#P toggle 97 109 46 0;
#P hidden newex 78 290 52 196617 noteout 1;
#P hidden newex 77 244 97 196617 makenote 111 111;
#P hidden number 93 329 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P hidden message 29 347 20 196617 98;
#P toggle 100 261 52 0;
#P hidden newex 40 374 51 196617 pgmout 4;
#P hidden newex 88 605 52 196617 noteout 4;
#P hidden newex 70 547 95 196617 makenote 111 111;
#P hidden newex 65 496 56 196617 random 88;
#P hidden newex 60 456 58 196617 metro 500;
#P hidden number 712 691 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P hidden message 649 700 20 196617 12;
#P hidden newex 649 724 51 196617 pgmout 7;
#P hidden newex 562 722 52 196617 noteout 7;
#P user kslider 400 353 54 0 36 48 31 12 0 128 128 128 128 128 128 255 255 255 0 0 0 0 0 0;
#P hidden newex 560 592 93 196617 makenote 127 127;
#P hidden number 411 338 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P hidden message 348 347 26 196617 102;
#P toggle 335 257 51 0;
#P hidden newex 348 371 51 196617 pgmout 6;
#P hidden newex 353 597 52 196617 noteout 6;
#P hidden newex 352 548 95 196617 makenote 111 111;
#P hidden newex 352 495 56 196617 random 88;
#P hidden newex 348 442 58 196617 metro 500;
#P hidden number 259 336 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P hidden message 198 346 26 196617 103;
#P toggle 220 257 50 0;
#P hidden newex 196 369 51 196617 pgmout 5;
#P hidden newex 201 595 52 196617 noteout 5;
#P hidden newex 200 546 95 196617 makenote 111 111;
#P hidden newex 200 493 56 196617 random 88;
#P hidden newex 196 440 58 196617 metro 500;
#P hidden newex 758 140 80 196617 receive number;
#P hidden newex 768 468 66 196617 send number;
#P hidden flonum 766 173 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P hidden newex 766 195 119 196617 scale -200. 900 60. 90.;
#P hidden number 815 57 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P hidden message 756 51 26 196617 101;
#P hidden newex 760 91 51 196617 pgmout 4;
#P hidden newex 885 244 52 196617 noteout 4;
#P hidden newex 825 218 94 196617 makenote 111 111;
#P toggle 555 253 36 0;
#P hidden message 656 277 14 196617 1;
#P hidden message 733 359 30 196617 zero;
#P hidden message 766 359 34 196617 reset;
#P hidden newex 721 286 58 196617 metro 200;
#P hidden newex 733 312 40 196617 key;
#P hidden newex 733 335 52 196617 sel 48 49;
#P hidden toggle 721 424 15 0;
#P hidden number 856 424 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P hidden number 811 424 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P hidden number 766 424 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P hidden number 901 424 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P hidden newex 721 387 66 196617 mousestate;
#B color 5;
#P hidden message 546 269 29 196617 stop;
#P toggle 212 108 45 0;
#P hidden button 505 218 15 0;
#P hidden number 430 27 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P hidden number 275 46 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P hidden message 359 39 20 196617 90;
#P toggle 332 106 44 0;
#P hidden newex 368 64 51 196617 pgmout 3;
#P hidden newex 369 307 52 196617 noteout 3;
#P hidden newex 368 258 95 196617 makenote 111 111;
#P hidden newex 368 205 56 196617 random 88;
#P hidden newex 364 152 58 196617 metro 500;
#P hidden message 212 38 20 196617 95;
#P hidden newex 196 69 51 196617 pgmout 2;
#P hidden newex 218 305 52 196617 noteout 2;
#P hidden newex 217 256 97 196617 makenote 111 111;
#P hidden newex 215 172 58 196617 metro 500;
#P window setfont "Sans Serif" 14.;
#P comment 96 225 100 196622 synth 1;
#P comment 216 227 100 196622 synth 2;
#P comment 520 417 100 196622 vibraphone;
#P window setfont "Sans Serif" 9.;
#P hidden number 95 58 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P hidden message 60 49 20 196617 96;
#P hidden newex 60 86 51 196617 pgmout 1;
#P window setfont "Sans Serif" 12.;
#P window linecount 3;
#P comment 598 248 100 196620 on/off for mouse tracking synth;
#P window setfont "Sans Serif" 14.;
#P window linecount 1;
#P comment 96 86 100 196622 Pad 1;
#P comment 209 84 100 196622 Pad 2;
#P comment 332 83 100 196622 Pad 3;
#P window setfont "Sans Serif" 18.;
#P comment 179 42 100 196626 Pads;
#P window setfont "Sans Serif" 14.;
#P comment 332 227 100 196622 synth 3;
#P window setfont "Sans Serif" 18.;
#P comment 187 189 100 196626 Synths;
#P window linecount 5;
#P comment 430 94 100 196626 Press Spacebar to Begin Pads and Synths;
#P window linecount 3;
#P comment 544 106 100 196626 Press Any key to Stop;
#P window setfont "Sans Serif" 14.;
#P window linecount 5;
#P comment 429 250 100 196622 Individually Control Pads and Synths with Toggles on Left;
#P window setfont "Sans Serif" 24.;
#P window linecount 1;
#P comment 413 38 363 196632 Jen's Spacey Midi Controller;
#P hidden connect 85 0 82 0;
#P hidden connect 84 0 82 0;
#P hidden connect 12 0 11 0;
#P hidden connect 13 0 11 0;
#P hidden connect 33 0 78 0;
#P hidden fasten 83 0 78 0 64 455 65 453;
#P hidden connect 78 0 79 0;
#P hidden connect 79 0 80 0;
#P hidden connect 97 0 86 0;
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#P hidden connect 96 0 97 0;
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#P hidden connect 80 0 81 0;
#P hidden connect 31 0 88 0;
#P hidden connect 86 1 87 1;
#P hidden connect 31 0 83 0;
#P hidden connect 80 1 81 1;
#P hidden connect 29 0 20 0;
#P hidden connect 21 0 20 0;
#P hidden connect 63 0 60 0;
#P hidden connect 62 0 60 0;
#P hidden connect 33 0 56 0;
#P hidden fasten 61 0 56 0 201 439;
#P hidden connect 56 0 57 0;
#P hidden connect 57 0 58 0;
#P hidden connect 58 0 59 0;
#P hidden connect 31 0 32 0;
#P hidden fasten 33 0 17 0 220 157;
#P hidden fasten 32 0 17 0 220 155;
#P hidden connect 17 0 89 0;
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#P hidden connect 18 0 19 0;
#P hidden connect 31 0 61 0;
#P hidden connect 58 1 59 1;
#P hidden connect 18 1 19 1;
#P hidden connect 31 0 27 0;
#P hidden fasten 31 0 69 0 352 409 340 409;
#P hidden connect 71 0 68 0;
#P hidden connect 70 0 68 0;
#P hidden connect 33 0 64 0;
#P hidden fasten 69 0 64 0 353 441;
#P hidden connect 64 0 65 0;
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#P hidden connect 66 0 67 0;
#P hidden connect 33 0 22 0;
#P fasten 27 0 22 0 369 151;
#P hidden connect 30 0 26 0;
#P hidden connect 28 0 26 0;
#P hidden connect 22 0 23 0;
#P hidden connect 23 0 24 0;
#P hidden connect 24 0 25 0;
#P hidden connect 66 1 67 1;
#P hidden connect 24 1 25 1;
#P hidden connect 93 0 31 0;
#P hidden connect 94 0 33 0;
#P hidden connect 31 0 46 0;
#P hidden connect 73 0 72 0;
#P hidden connect 90 0 91 0;
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#P hidden connect 72 0 74 0;
#P hidden connect 72 1 74 1;
#P hidden connect 92 1 94 0;
#P hidden connect 77 0 75 0;
#P hidden connect 76 0 75 0;
#P hidden connect 33 0 42 0;
#P hidden connect 46 0 42 0;
#P hidden connect 42 0 34 0;
#P hidden connect 43 0 34 0;
#P hidden connect 44 0 34 0;
#P hidden connect 34 0 39 0;
#P hidden connect 41 0 40 0;
#P hidden connect 40 0 44 0;
#P hidden connect 51 0 49 0;
#P hidden fasten 50 0 49 0 765 87;
#P hidden connect 55 0 53 0;
#P hidden connect 53 0 52 0;
#P hidden connect 40 1 43 0;
#P hidden connect 34 1 36 0;
#P hidden connect 36 0 54 0;
#P hidden connect 34 2 37 0;
#P hidden connect 52 0 47 0;
#P hidden connect 34 3 38 0;
#P hidden connect 47 0 48 0;
#P hidden connect 34 4 35 0;
#P hidden connect 47 1 48 1;
#P pop;

Listening Questions

2008-03-10T22:01:00.002-06:00

Here is a listening questionnaire I completed for Daniel Dugas's Sound Class.

LISTENING QUESTIONS
from: Deep Listening: A Composer's Sound Practice by Pauline Oliveros

1.What is your earliest memory of sound? How do you feel about it now?
My earliest memory of sound is the sound of the vacuum cleaner going over carpet. The buzzing noise that changes pitch when the vacuum moves. Upon reflecting on this memory now, I find it interesting that such an ambient droning noise was my first sonic memory.

2. When do you notice your breath?
I notice my breath most, when I am self-conscious of it, when I’m late and don’t want to seem out of breath, or when I’m trying to be really quiet.

3. What is attention?Attention is the recognition of anything within your scope. Any kind of acknowledgement is a form of attention, whether it is a glance or hearing a sound. If it registers in your brain, I think you are giving it some form of attention.

4. Can you imagine composing or improvising a piece based on breath rhythms?
Yes, the rhythm of breath is very organic, and can certainly set a mood to a certain piece. If the rhythm mimics a breath pattern in a certain emotional state, I think the overall feeling can be imitated in the rhythm. Madonna’s Like A Virgin has a rhythm that mimics the speed of breath pattern during sex, which makes the song that much more sensual.

5. What sound reminds you of home?
The sound of my two Saint Bernard dogs downstairs reminds me of home. Their heavy steps on the hardwood, their constant panting and sighing are constant reminders of being in my house. When the dogs aren’t there the house seems eerily quiet.

6. Do you listen for sound in your dreams? What do you hear? How does it affect you?
Subconsciously, I’m sure I hear things in my dreams, as when I awake I can remember hearing things. Sometimes sounds seem so real it is hard to distinguish which sound I heard in reality and which in a dream. I know I listen in my sleep, as I often fall asleep with the radio, or television on and sometimes my dreams wander and incorporate stories on the radio or television into my dream.

7. The distinguished historian, Wiliam H. McNeil, has recently argued in his book Keeping Together in Time that "coordinated rhythmical activity is fundamental to life in society."
Can you imagine tracking a rhythm pattern in your daily life and writing about it?
Well, while many ordinary actions and objects around us operate on a rhythmic pattern or cycle, ourselves do not. Our lives can have a pattern, but at any time the pattern can be interrupted, therefore tracking a rhythm would be difficult, especially as our lives change day to day. I can’t imagine tracking a rhythm pattern in my daily life, as then I would be consciously tracking the rhythm, which would create superficial results.

8. Can you imagine rhythm pattern for the rhythm circle with your own form of notation?
I’m not sure if I entirely understand the question, however if it means using a personal form of notation while creating beat patterns, I’m sure I could imagine inventing my own notation, however using a standardized notation makes more sense, so others can understand your music.

9. Can you imagine composing or improvising a piece for voices using attention
patterns?
I think the attention pattern and cycles for people are interesting, as they are so different for everyone. Different things hold different peoples attention and for different periods of time, so making a piece would be interesting. If you made a vocal piece bringing in voices in and out and changing the volume according to how much attention is being used and such has a lot of possibilities.

10. What is sound?
Sound is the movement of the vibrations in the air that are processed by our ears, or other means of listening.

11. What is listening?
Listening is the reception of sound in our ears.

12. What action(s) is usually synchronized with sound?
What action isn’t synchronized with sound? I can’t imagine doing any actions without any sound at all.

13. When do you feel sound in your body?
I feel sound in my body whenever I am actively listening, for example when creating a piece, or putting together a set, or even listening to a record.

14. What sound fascinates you?
I like the sound of high winds when they almost whistle.

15. What is a soundscape?
A soundscape can be either created or natural. A natural soundscape is any environment with ambient sound coming from all directions. A created soundscape however, is a sound environment that incorporates the different directions of sounds, whether it is single sounds coming from different directions on different layers or surround sound.

16. What are you hearing right now? How is it changing?
I am listening to an IDM track by Mu-ziq right now, titled Hasty Boom Alert on studio headphones, so I can’t hear any ambient noise besides the music. The music’s beat is changing between slow paces and faster breaks.

17. How many sounds can you hear all at once?
The number of sounds I can hear at once is very dependent on the environment, and the volumes and pitches of the different sounds. For example on the plane, I can pick up the sounds of various passengers, as the airplane is generally pretty quiet, but with lots of ambient noise. In a louder environment however, such as a concert, the surroundings are designed to isolate the music as the primary sound, so it is harder to pick up on other sounds.

18. How far can you hear sounds?
The distance of sounds I can hear really varies with the natural environment. First, the existing ambient noise really affects how far one can listen, in a loud environment one might only be able to hear for a small distance. However in a quiet field, one can hear the sounds much better at greater distances. Also, the geography of the location affects sound, how many barriers the sound waves need to travel through or over, such as walls and buildings.

19. Are you sure that you are hearing every thing that is to hear?
No, I am definitely not sure I am hearing everything that is to hear. My listening capabilities are constantly improving, as I train my ear to listen more delicately.

20. What more could you hear if you had bigger ears? (or smaller)
I think within the human size range of ears the differences in size are insignificant, so I don’t think I could hear more. However if I had ears that were a different shape and kind, such as the ears of a bat, of course I could hear more, especially frequencies humans can’t hear at all.

21. Can you hear more sounds if you are quiet? How many more?
Yes, I can hear more sounds if I am quiet, but mostly of lower amplifications. And the number of sounds is dependent on the surroundings.

22. How long can you listen?
I can listen casually forever, I am always listening, consciously or unconsciously. However actively listening I find is difficult for very long periods of time, like when something is very hard to make out, or at a hard frequency, and you have to work to listen, it is a matter of minutes before I get tired.

23. When are you not listening?
I am always casually listening, but I am often not actively listening.
I am always listening to sounds, and my atmosphere, but sometimes not focusing or comprehending them.

24. Can you not listen when something is sounding?
No, unless your ears are closed or covered it is nearly impossible to not listen when something is sounding.

25. Try not listen to anything. What happens?
I actually seem to hear more, as I am consciously paying attention to my hearing as I am trying to not listen.

26. How can you not listen if your ears never close?
You can’t not listen to anything subconsciously or consciously; our hearing is constantly picking up sound vibrations. If we process them or not does not affect if we hear them or not.

27. What meaning does any sound have for you?
There are countless sounds that have meanings to them, but one that I hear often is the jingle of my small dog’s collar. I can hear the rhythm and pace in which he is running and the direction he is heading. He is really hard to find without his collar!

28. What is favourite sound? How is it made? When can you hear it? Are you hearing it now?
Well like earlier in the questionnaire, I like the sound of high winds for a natural sound, or the sound of rain hitting panes of glass. For synthetic sounds, I really like dirty synth sounds and deep bass tones. For the synthetic sounds, I can mostly hear it in any type of electro/electroclash music, in addition to many other types of electronic music. And yes I am hearing right now.

29. What is the soundscape of the space you are now occupying?
The soundscape with my headphones is the surround sound of my studio headphones, playing Boards Of Canada, so quieter ambient sounds, using a lot of minor notes and keys. If I take my headphones off, I can hear the television downstairs playing Dr.Phil, the tapping of my keyboard, the buzz of my external hard drive, and the soft hum of music on my headphones around my neck.

30. How is the soundscape shaped? Or what makes a soundscape?
A soundscape is made by incorporating all of the environmental sounds surrounding yourself, or artificially one can shape a soundscape by changing the barriers between the listener and the sound as well as changing the position of the source.

31. What is the soundscape of your neighborhood?
The soundscape of my neighbourhood is a combination of the ambient noise from the highway, including big semi trucks, and the wildlife and dogs in the area howling.

32. What is the soundscape of your city?
The soundscape of Calgary incorporates the sounds of the bow river or Elbow River, and the sounds of cars whizzing by. The bells of the LRT warning lights with the whoosh of air when the train comes by, and the constant sound of construction.

33. How many different soundscapes can you imagine?
I think every environment has a soundscape, as everything has a sound, so anywhere you ever go will have a different soundscape.

34. What would you like to have in your own soundscape?
I would want to have lots of ambient music with clear sound, bad quality sound hurts my head. I would want the comforting ambient sounds that I create, like the whir of my laptop and the sound of myself typing, but no unnecessary sound pollution.

35. What would you record to represent your soundscape?
I think I would be able to record my soundscape by writing down a portion of it on paper, similar to writing music. I would just write, what the sound was, and then the rhythm in which I did it, how I heard it.

36. What sound makes you speculative?
Instrumental music makes me speculative and always makes me think, it’s what I put on when I need to concentrate or think something through.

37. What sounds gives you chills?
The sound of anything with a chime to it, similar to sounds made in carnivals, music boxes, small toys, these sounds can be very creepy.

38. What sound ruffles your scalp?
The sound of someone breathing real close to me, ruffles my scalp and make me incredibly nervous.

39. What sound changes your breathing?
When any abrupt sound surprises me, I gasp, and then of course the pattern of my breathing changes as I catch my breath.

40. What sound would you like whispered in your ear?
Anything with soft consonants, like anything soft would be nice to have whispered in your ear, especially if it was saying something nice.

Database Audio Project-Djay

2008-02-11T09:48:00.000-07:00

Here is another freeware I tried from Database Audio, the program Djay. It's interface looks just like two turntables, with a simple fademixer, with volume controls, as well as a bpm counter. You can then select tracks from your itunes library ( it automatically loads into djay), and then mix your tracks. The recording function is also easy to use. The problem which I had with the program was that to precue ( listen to the mix in your headphones, and then correct without it affecting the external speakers) is not available without a sound card or usb headphones. So in my demo mix, there are some very messy mixes, as it was difficult to beat match without precuing.

Database Audio Project-Hyperubic

2008-02-08T13:14:00.000-07:00

Here is one of the softwares I was playing around with called Hyperubic, it is a program that processes an image and produces sound samples based on the technical composition of the picture.

Here are a bunch of samples I tried:

Jitter Project

2008-02-04T13:28:00.000-07:00

This is a video editor I made in Jitter for my AV for Performance and Installation class. There's a sample video recorded showing some of the effects in can make.

Sonic Journey Project

2008-01-29T11:10:00.000-07:00

This is a Sonic Journey Project I did for my MADT Sound Class.
I recorded my morning trip to Weeds Cafe for a coffee and some breakfast.

MSP Project for AV Class

2008-01-28T09:47:00.001-07:00

This is my MSP Project I completed for my AV for Performance and Installation class.

And, here is the Max MSP code for my patch

max v2;
#N vpatcher 156 97 1116 691;
#P window setfont "Sans Serif" 9.;
#P message 461 57 29 196617 stop;
#P message 384 58 67 196617 startwindow;
#P toggle 309 391 15 0;
#P message 352 354 30 196617 open;
#P newex 402 375 64 196617 sfrecord~ 2;
#P toggle 722 45 15 0;
#P newex 589 49 58 196617 metro 400;
#P flonum 597 127 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P newex 598 99 92 196617 scale 0 500 -1. 2.;
#P newex 570 73 63 196617 random 500;
#P toggle 369 209 15 0;
#P user meter~ 292 256 372 269 50 0 168 0 103 103 103 255 153 0 255 0 0 217 217 0 153 186 0 12 3 3 3 3;
#P newex 339 296 31 196617 dac~;
#P user gain~ 418 122 24 100 158 0 1.071519 7.94321 10.;
#P toggle 664 203 15 0;
#P message 667 222 41 196617 loop \$1;
#P message 570 171 48 196617 speed \$1;
#N sfplay~ 2 40320 0 ;
#P newobj 485 248 206 196617 sfplay~ 2;
#B color 5;
#P message 480 134 28 196617 open;
#P message 503 163 14 196617 1;
#P message 530 167 14 196617 0;
#P newex 483 308 29 196617 dac~;
#P message 665 292 65 196617 startwindow;
#P message 755 294 27 196617 stop;
#P newex 292 182 50 196617 *~ 0.33;
#P number 312 156 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P newex 282 107 40 196617 cycle~;
#P connect 17 0 0 0;
#P connect 0 0 2 0;
#P connect 1 0 2 0;
#P connect 13 0 15 0;
#P connect 13 0 14 0;
#P connect 16 0 14 0;
#P connect 2 0 14 0;
#P connect 13 0 14 1;
#P connect 24 0 22 0;
#P connect 23 0 22 0;
#P connect 13 0 22 0;
#P connect 26 0 13 0;
#P connect 25 0 13 0;
#P connect 9 0 13 0;
#P fasten 13 0 22 1 423 246;
#P connect 9 0 5 0;
#P connect 4 0 5 0;
#P connect 3 0 5 0;
#P connect 10 0 9 0;
#P connect 8 0 9 0;
#P connect 7 0 9 0;
#P connect 6 0 9 0;
#P connect 11 0 9 0;
#P fasten 9 1 5 1 588 289 507 289;
#P connect 20 0 17 0;
#P connect 19 0 10 0;
#P connect 21 0 20 0;
#P connect 18 0 19 0;
#P connect 17 0 18 0;
#P connect 12 0 11 0;
#P pop;

Instrument Project

2008-01-23T13:52:00.000-07:00

This is a homemade instrument I created for my MADT Sound Class. We made it in 2 hours with found materials.

Max Project

2008-01-17T11:42:00.000-07:00

Here is a project I created in Max for my MADT 319 class, I created a patch that randomly chooses numbers and creates appropriate MIDI tones, as well as a mouse-responsive portion, that creates tones in accordance to the location of the mouse.

Here is the Max Code for my Patch

max v2;
#N vpatcher -62 185 1100 756;
#P origin 0 -2;
#P window setfont "Sans Serif" 9.;
#P newex 758 140 80 196617 receive number;
#P newex 768 468 66 196617 send number;
#P flonum 766 173 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P newex 766 195 119 196617 scale -200. 900 60. 90.;
#P number 815 57 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P message 756 51 26 196617 101;
#P newex 760 91 51 196617 pgmout 4;
#P newex 885 244 52 196617 noteout 4;
#P newex 825 218 94 196617 makenote 111 111;
#P toggle 721 251 15 0;
#P hidden message 656 277 14 196617 1;
#P message 733 359 30 196617 zero;
#P message 766 359 34 196617 reset;
#P newex 721 286 58 196617 metro 200;
#P newex 733 312 40 196617 key;
#P newex 733 335 52 196617 sel 48 49;
#P toggle 721 424 15 0;
#P number 856 424 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P number 811 424 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P number 766 424 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P number 901 424 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P newex 721 387 66 196617 mousestate;
#B color 5;
#P message 546 269 29 196617 stop;
#P toggle 207 113 15 0;
#P button 505 218 15 0;
#P newex 124 93 64 196617 random 127;
#P number 11 80 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P newex 632 182 58 196617 select 119;
#P newex 553 184 52 196617 select 32;
#P newex 546 116 40 196617 key;
#P number 427 48 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P number 275 46 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P number 130 42 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P message 364 57 26 196617 104;
#P toggle 365 120 18 0;
#P newex 364 81 51 196617 pgmout 3;
#P newex 369 307 52 196617 noteout 3;
#P newex 368 258 95 196617 makenote 111 111;
#P newex 368 205 56 196617 random 88;
#P newex 364 152 58 196617 metro 500;
#P message 223 49 20 196617 98;
#P newex 213 76 51 196617 pgmout 2;
#P newex 218 305 52 196617 noteout 2;
#P newex 217 256 97 196617 makenote 111 111;
#P newex 217 203 58 196617 random 88;
#P newex 215 158 58 196617 metro 500;
#P message 82 36 20 196617 99;
#P toggle 77 112 15 0;
#P newex 78 69 51 196617 pgmout 1;
#P newex 83 298 52 196617 noteout 1;
#P newex 82 249 97 196617 makenote 111 111;
#P newex 82 196 58 196617 random 88;
#P newex 79 151 58 196617 metro 500;
#P connect 27 0 26 0;
#P connect 28 0 5 0;
#P connect 6 0 4 0;
#P connect 20 0 4 0;
#P connect 30 0 0 0;
#P fasten 5 0 0 0 83 142;
#P connect 26 0 6 0;
#P connect 0 0 1 0;
#P connect 1 0 2 0;
#P connect 2 0 3 0;
#P connect 2 1 3 1;
#P connect 0 0 27 0;
#P fasten 28 0 29 0 209 112 212 112 214 112 212 113;
#P connect 12 0 11 0;
#P connect 21 0 11 0;
#P fasten 30 0 7 0 220 157;
#P fasten 29 0 7 0 220 155;
#P connect 7 0 8 0;
#P connect 8 0 9 0;
#P connect 9 0 10 0;
#P connect 9 1 10 1;
#P connect 19 0 17 0;
#P connect 22 0 17 0;
#P connect 30 0 13 0;
#P fasten 18 0 13 0 369 151;
#P connect 28 0 18 0;
#P connect 13 0 14 0;
#P connect 14 0 15 0;
#P connect 15 0 16 0;
#P connect 15 1 16 1;
#P connect 24 0 28 0;
#P connect 25 0 30 0;
#P connect 23 0 24 0;
#P connect 23 0 25 0;
#P connect 28 0 43 0;
#P connect 43 0 39 0;
#P connect 30 0 39 0;
#P connect 41 0 31 0;
#P connect 40 0 31 0;
#P connect 39 0 31 0;
#P connect 31 0 36 0;
#P connect 38 0 37 0;
#P connect 37 0 41 0;
#P fasten 47 0 46 0 765 87;
#P connect 48 0 46 0;
#P connect 52 0 50 0;
#P connect 50 0 49 0;
#P connect 37 1 40 0;
#P connect 31 1 33 0;
#P connect 33 0 51 0;
#P connect 31 2 34 0;
#P connect 49 0 44 0;
#P connect 31 3 35 0;
#P connect 44 0 45 0;
#P connect 31 4 32 0;
#P connect 44 1 45 1;
#P pop;

Sonification project

2008-01-15T09:51:00.000-07:00

Here is a sonification piece I created for my MADT 201-Digital Studio Class. I created it on cubase.

Danse with Jennie O and Chris B

2008-01-14T21:52:00.000-07:00

Here's an electro-pop mix made by Chris B and myself one evening back in October.

Hope you enjoy it!