Dear all, For several weeks now we have been living through a particularly difficult and tragic period with the global pandemic that is directly affecting us. This situation is upsetting our perceptions, our habits and our certainties. It is at the same time a radical and unexpected questioning of social, economic and spatial models and the revelation of the world from unsuspected angles that may open up some perspectives for reflection and action for future transformations as for an analys of this situation. The action proposed aims to set up a world observatory based on sound, of which cartophonies.fr is one of the tools.
Sound is an important revealer of moods for some of us. The objective is to understand how our environments and the ambiences we experience change as a result of changes brought about by confinement. However, we all live in very different places, in particular neighbourhoods and under specific conditions, confined for many of us, we are confronted with living the ambiences in a new way. Our windows, balconies, loggias and terraces, if we have them, become one of the modes of immediate contact with the outside world, that of our neighbours and of the city, just as for those who live in the city, windows and balconies become remarkable transmitters. Since March 30 we have already proposed to our fellow researchers in the AAU laboratory to make simultaneous sound recordings from their windows open to the outside on specific days and at specific times to create a coordinated corpus of recordings from this direct interface between our confined interiors and the hollow city.
Therefore this call is addressed to all of you who are interested in these phenomena to participate in a global observation from their windows, balconies, loggias and terraces if they have them where they live, by recording 4 minutes 33 seconds of their sound environment at precise times (local time: 8am, 11am, 2pm, 5pm, 8pm) over one day on APRIL 19, 2020, all or several of these hours. The duration of 4 minutes 33 seconds refers to John Cage time during which a performer plays in silence for four minutes and thirty-three seconds, this duration is actually made up of sounds from the environment that the listeners hear or create when the piece is performed. Silence” is therefore a moment of listening, and our cities have become a different kind of listening material during this crisis.
All these recordings can be compiled on the “cartophonies.fr” website provided that they are : -geolocated gps under the mode 45.8790 / 7.98789 – .wav format or equivalent, sampling if possible 48Khz, stereophonic is better -attach one or more photos of the situation (no video), looking out from the inside -precise the recorder and microphone used, avoid non-stereophonic smartphones -give the location of the microphone (height, position in relation to the window or balcony, facade) -Record a short observation specifying the moment experienced and the remarkable differences with the situation before this crisis (customs, sound composition, link with other senses, weather of the moment, …), The notes can be written in french, english or spanish You can go to www.cartophonies.fr to see how to file a sound and what information is required.
To deposit a sound it must have an url address for it, otherwise you can send them by specifying in the filename your name and the recording time to : email@example.com Yours sincerely, hope you are well Grégoire Chelkoff ENSAG Professor / Researcher CRESSON AAU
C19 means kids doing home school
There are a lot of households who do not have decent web access outside of mobile data.
Most families will have a mobile phone that can tether, but the data is expensive, perhaps more than some families may be able to afford.
Meanwhile, the rest of us are at home, not using our mobile data that we pay for with our plans.
I wonder if its possible for us to all ‘donate’ our unused mobile data to go toward helping families that need for home schooling.
This would mean the carriers and the department of education need to talk about the families who need this help (usual more remote households or communities.
Who do we talk to?
Going through my drive throwing various pointless experiments that I can’t even remember WHY I did them, out so …
Euclidian Pulse Triggering the Note at the relative note pattern position.
Brains to fried to be clever so reverting to a combination of old pathways and completely inconsequential tweaking…
So, Sitting around Self Isolating …
Thought id teach myself Ableton LIVE
Yep is Music for old people, buy hey IM OLD so …
Made this track using its 909 kit and an Arturia MicroFreak.
Excuse the less than inspired drum part, got lost in the Synth:+)
To make things interesting, made some rules:
All sounds from Default on the micro freak had to be made in less than 3 mins and the parts had to be played in with no edits.
45 mins later;…
By request. the no crappy beats version, you can REALLY hear the bad playing now!:+)
for absolutely NO reason…
So continuing the pointless Squoinks…
Something caught in my throat.
Just messing with the MicroFreaks Voice Oscillator.
Been playing with the @ArturiaOfficial #MicroFreak. Its FUN. Its Bonkers Fun.
Sadly it also has a very unappealing digital ‘noise’ (a friend referred to it as “DigitalHash’) so more delicate sounds are not really viable, but cranked up its pretty bloody usable.
Its quite an interesting cross between ya bog standard 1 Osc subtractive, and something more modular with some west coast elements. Consequently as a sad old synth geek, it’s quite interesting. The conductive pads that respond polyphonically are really what made me get this as it seems like an interesting controller for future projects regardless of its own synth engine. Anyway, its a hilarious machine for creating riffy ‘acid’ type synth loops. So I’ve been reliving my 90’s dance producer life, and wishing i’d had one of these back then.
Manages the neat trick of being hugely impressive… without being hugely priced.
Thank you John Walden
Got tasked to make some samples useful in EXS24…
Decided to take it up a notch…
ALCHEMY is rather GOOD.
Via the ModWheel.co.nz
Revises & Relaunches
PERC+ Percussion Library
PERC+ features 128 patches for Kontakt 5.5 or higher. It includes cymbals, bells, gongs, objects, small percussions, tuned instruments as well as upright piano and a viola da gamba. With up to 10 round robins and 20 layer velocities depending on the instrument.
We bought it back in 2014 and having used it extensively we’ve had some ideas on how to make it an even better user experience. So the interface has been streamlined to make this huge library more immediately useable. The patches are the same but following MODWHEEL’S simple principle of ‘less is more’ we’ve redesigned the GUI curating a few choice functions on the front page for the user.
These include Envelope, Tuning, Body, Reverb, Delay, Arpeggiator and Stutter Key. And of course all the usual Kontakt functionality is still available via the spanner tool.
Get your copy by making a NZ$45 donation to Tironui Music Trust
As with the original concept proceeds of sales will go to a music charity – this time one based in New Zealand.
We’re supporting Tironui Music Trust who are based in South Auckland, NZ. http://www.tironui.org.nz
They provide instruments and tuition to kids aged between 8 -12 at low decile schools (schools in lower socio-economic communities) They can play string or band instruments and learn the basics of reading music, playing an orchestral instrument and performing as a group.
Given that i spend most of my time playing with the more bleeding edge sounds generators, its been an interesting discipline to keep within the bounds of this somewhat retro oeuvre!
Yep, About how it is…
Teaching aid… When trying to learn a bit of software, i make scratch tracks.
Heres one of them:
Chase Sequence that just Fizzles out?
Another ‘found file’ imagining a somewhat steely image of robots trying to chat each other up in a bus station.