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This project was initiated to test VST/AU 5th order panner plug-ins with random control. For the audio signal, I created a synthesizer plug-in with SonicBirth that has eight voices based on a single user-selectable base frequency. In this piece, it's 22 Hz. This base frequency is going through three stages of randomly controlled sets of integer multiplications. Some other user-controlled parameters are BPM (112 in this case), basic note division (eighth note in this case) and rate at which the new sets of multiplications are applied. The tones are mostly sine waves, but they're also randomly modulated with triangle and saw waves to give a bit of a texture. The eight outputs of the synth are then routed to a group of panners that create various trajectories. The rate at which the panners generate these trajectories is user-controllable. There are some other features like an optional distance-dependant EQ, which is used in this case. This 3rd order horizontal Ambisonic file is also featuring mixed orders: the direct sounds are encoded up to the 3rd order, but the reverb is 1st order only.
Variations on Vater unser im Himmelreich is a electroacoustic remix of Felix Mendelssohn's Organ Sonata No. 6. In the 2001 original source recording, Patrick Wedd played on the Karl Wilhem organ of Christ Church Cathedral in Montreal, Canada. To put it succinctly, the original recording is pre-treated with granular synthesis and then transformed and spatialized in Ambisonic B-Format in realtime using stochastic controllers. Audio file preparation was done with sound editor TwistedWave, granular synthesizer Audio Ease Thonk and sound editor/mixer Steinberg Nuendo. The Audio Units plug-ins used for live performance and responsible for random routing, processing and spatialization were built with SonicBirth. The live performance is done in Plogue Bidule where the multichannel file playback and processing all come together. A more detailed explanation is available here:
Composition exploring timbre textures by panning groups of sound sources very quickly. Implemented in 3rd order ambisonics, with 400 point sources.
A recording of fluorescent lights being flicked on and off, processed by 3600 granular voices spread evenly over a square kilometre. Granulation of multiple point sources is used to help synthesise the impression of apparent sound source size.
The first movement in a series of works exploring the effect of distance on a sound's spectral character. The drum sample is taken from a recording of drummer Tim O`Driscoll
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