[-empyre-] re: microsounders / software

[john hudak <jhudak@pobox.com>]

on 8/4/03 11:33 PM, Trace Reddell at treddell@du.edu wrote:

> Hi Nemo:
> 
> Like Glenn, I got most of my software via databaseaudio.
> 
> A text-cut-up generator I like is called Cut'n'Mix. For the "Machinery for
> Dreaming" piece, I used this program to generate cut-ups of the original De
> Quincey text; these cut-ups were used to create controller information
> (pitch, velocity, and modulation).
> 
> For txt-to-midi conversion, I've been working with TransMid-1. This program
> is horribly documented (and now it looks like the developer's site has
> disappeared completely), so I'm still trying to dissect some aspects of what
> it's doing with the text information. I used this for "Machinery for
> Dreaming" and my contribution to The Audible Still-Life. I've also worked
> some with "GoMinimal," though it's a bit buggy and also poorly documented.
> For some key passages of text, I worked with my own schematic for applying
> numerical values to letters, words, phrases, and sentences and used this for
> score; key words like "opium" thus become a micro-melodic element.
> 
i've only worked in the mac realm (well, before that cassette and reel to
reel tape).  my first software was an old program called "soundedit."  it
was the only program for a long while.  then "peak" came along, and has
cornered the market on high quality audio editing on the mac, as far as i'm
concerned.

at present, i use mostly max/msp/jitter.  the reason a lot of people
(besides microsounders) use it, is because it is a highly versatile object
oriented programming language, albeit far simplified as compared to programs
like "supercollider" or "csound" or "c++" programming languages.  in
max/msp/jitter, you are limited only by your imagination and/or programming
expertise.

i've been using max/msp for about 4 years now, and have learned a great deal
by opening up other people's patches; watching while other programmers
worked on patches for me; and through trial and error.  i'm sure it takes
students much less time to grasp, especially if they are really concentrated
on their learning.

my take on the "microsound" label, is that if it helps a music/sound
movement to be more accessible to the general public by having it labeled,
then that is a good thing.  i think the original idea was that "microsound"
dealt with "small" sounds (i.e. micro/sound).  this is what i've always been
interested in...the small unheard sounds that are all around us, when
amplified and framed in the form of sound pieces, have the overall effect of
enlightening people to the work around them.

i think it would be interesting to hear what others members of this panel
and list enjoy listening to and why.  do you listen to relax?  do you listen
intently (analysing what you are hearing), or do you listen as background?
do you listen to music/sound that makes you feel good, or that shares
something in the way you think (i.e. lyrics that you identify with).

my usual way of listening is as background, so sound/music that can exist as
background, but also has small things popping through to me to maintain
interest or feeling.  a long time ago, and still now, i like to think the
music/sound i like is music/sound that i can paint to (abstract painting as
opposed to house painting/wall painting).

best future,
john