Author Archives: Kevinernste

Sound check times are listed below. If you cannot make your time slot, please let us know ASAP.

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.

Download Delay Materials >

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:

https://www.inbflat.net/

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.

Sounds and information on Édouard-Léon Scott de Martinville’s first recordings on the First Sounds project archive:

http://www.firstsounds.org/videos/

Principes de Phonoautographie (1857 publication)

John Cage’s “Imaginary Landscape #1”, 1939:

Pierre Schaeffer’s “Etude aux chemins de fer”, 1948 (musique concrète):

Karlheinz Stockhausen’s “Etude II”, 1954

Varèse is considered, by many, a grandfather of electronic music, someone dedicated to the possibilities of music made with audio signals and loud speakers even before such means existed.

This piece–composed and connection with the 1958 Brussels World Fair for the experimental Philips Pavilion designed by fames architect Le Corbusier–is one fulfillment of those early ideas.

Here, too, is a link to the Virtual Electronic Poem (VEP) including the research done to reconstruct the original, lost work.

Video and audio below (original video loosely combined with music):

Our performance will be tomorrow evening, December 19th, at 5pm. Each of the three “sets” below should take around an hour each (roughly 5pm, 6pm, 7pm start times).

Please be prepared well in advance of your performance … I recommend arriving with everything set to go on your end, ready to stream to our Zoom meeting. I will ask each of you to verbally introduce your piece briefly.

A Zoom link will appear in the Canvas calendar along with this same concert order info.

Should you have any concerns during the concert or in advance of your performance, you can contact us privately in the Chat window. The TA’s may interact with the you in the Chat to alert when your performance is upcoming/next, but feel free to follow along in the order below.

If you did not yet respond to the Google form sent by Prof. Ernste or do not see your name listed below, please do complete the form and/or contact Prof. Ernste and your TA immediately to be slotted in.

CONCERT ORDER

Aman Gupta
Isaac Murphy
Janie Walter
Kaushik Ravikumar
Zachary Vero
Brian Shi
Melissa Gao
Brett O’Connor
Thomas Bastis
Lazarus Ziozis
Carter Gran & Jack Samett

INTERMISSION 1

Michael Xing
Chris O’Brian
Michael Zhang
Jacob Pelster
Eshaan Jain
Will Smith
Grace Wu
Luc Wetherbee
Irwin Chantre
Kyle Betts
Lucas Petrello

INTERMISSION 2

Jack Weber
Jack Pilon
Nathan Huang
Jocelyn Gilbert
Ben Goldberg
Sai Mallipedhi
Euna Park & Joshua Kaplan
Arsen Omurzakov
Isaac Singer
Brandon Feng
Jayansh Bhartiya

In advance of our coming final performances, I will be uploading a series of tutorial videos for your review, illustrating several potential methods for streaming your end-of-semester performances, from the simplest (sharing the Desktop or audio only in Zoom) to more complex arrangements using tools like OBS (https://obsproject.com/), mentioned previously.

See this page for more details.

For tomorrow’s lab on OBS, it might be useful to review this first tutorial below, illustrating recording of video, Desktop, and audio sources in OBS. This tutorial will be included in an upcoming FAQ page, including the other live streaming tutorials I mentioned.