Since it came up in our sections on Thursday, here is a page on re-creating/synthesizing the sounds of the original film Blade Runner (score, performance, and production by http://elsew.com/) on various hardware and software synths. I invite you to try your hand with Ableton Operator!
Attached are the materials from class today for building a delay patch using PD, including:
1. A patch collecting and explaining all objects needed for your own patch
2. A working “classical” feedback/multi-tap delay, just as an example. Note the use of “wireless” send/receive between the graphical objects at the top and the working “guts” of the patch below.
The Max for Live object we spoke about, by analog, is the “Tapped delay” found in “Max for Live –> Max for Live Effects” in the Ableton left sidebar where all of the other effects are.
A series of initial tutorials for using Max for Live can be found here.
See Episode #3 for building simple delay, very similar to the one we made together today.
https://drive.google.com/file/d/1Xbr9VlNUYcX7wbOUBtlD4S8vTY7kclsq/view?usp=sharing
Erik Satie’s “Vexations” for piano (video is nearly 12 hours):
Robert Fripp’s “Frippertronics” setup using two tape machines developed and used by him and Brian Eno on No Pussyfooting:
Terry Riley on his own origins in using live looping:
Terry Riley’s In C: please read the following page, which includes the interactive GUI’s I used in Lecture today:
Terry Riley’s “In C”: A Journey Through a Musical Possibility Space
Original recording from 1968:
Africa Express’s In C Mali:
In Bb, an online project following onto In C:
Steve Reich’s “Come Out”:
Pauline Oliveros’s “Bye Bye Butterfly”:
Brian Eno’s Music for Airports:
And to remind you that repetition, even literal and continuous repetition of the same materials, is nothing new … this famous aria from Henry Purcell’s 1689 Dido and Aeneas, the piece “Dido’s Lament”, uses a repeating ground bass (passacaglia), here to create as sense of growing intensity.