ICM / nmc fall 2008
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first imagesynthpieces • proj04

Focus this piece on something you find particularly compelling about the sound sources you created utilizing the Image Synth. In addition, keep some kind of formal compositional plan in focus as a way to guide the unfolding of the piece. Include a brief program note.

larson
I decided to make my final montage a combination of my preset sounds mixed with the same sounds run through the effects room. By doing this I started to build a pallet of sounds ranging from very clear precise sounds to very heavy and dissonant sounds. To create ABC form I decided it would be best to mix these sounds in such away that it is apparent to the ear how their changing over time.

The A section is just the sounds laid out overlapping. You can hear their differences as the cross fade with each other, but there is no panning. I also decided to utilize effects on the A section adding distortion and reverb to various tracks. To state the B section I decided I would construct a theme. I started with sample two which was preceded by a random sample, then sample two again, and then another random sample, ect, ect. By doing this I am making it obvious to the listener that sample two is the common ground between these samples and acts as a passage way into the next canvas of sound. The C section utilizes panning and cross fading. Basically I lined up two tracks for the left channel, and two tracks for the right channel. Once I did this I was ready to start crossfading samples. The end effect is rather interesting as you hear two completely different samples crossfading at different time ratios through both right and left speakers. It would be best be compared to someone sitting in-between two groups of people having conversations. One side would be trading back and forth between the speakers in the group, while the second group would be doing the same thing but obviously out of sync. After utilizing these three compositional styles I wound up with a complex piece that is very easy on the listeners ears, and translates its motif's in a clear and precise fashion. I decided to make my final montage a combination of my preset sounds mixed with the same sounds run through the effects room.

By doing this I started to build a pallet of sounds ranging from very clear precise sounds to very heavy and dissonant sounds. To create ABC form I decided it would be best to mix these sounds in such away that it is apparent to the ear how their changing over time. The A section is just the sounds laid out overlapping. You can hear their differences as the cross fade with each other, but there is no panning. I also decided to utilize effects on the A section adding distortion and reverb to various tracks. To state the B section I decided I would construct a theme. I started with sample two which was preceded by a random sample, then sample two again, and then another random sample, ect, ect. By doing this I am making it obvious to the listener that sample two is the common ground between these samples and acts as a passage way into the next canvas of sound. The C section utilizes panning and cross fading. Basically I lined up two tracks for the left channel, and two tracks for the right channel. Once I did this I was ready to start crossfading samples.

The end effect is rather interesting as you hear two completely different samples crossfading at different time ratios through both right and left speakers. It would be best be compared to someone sitting in-between two groups of people having conversations. One side would be trading back and forth between the speakers in the group, while the second group would be doing the same thing but obviously out of sync. After utilizing these three compositional styles I wound up with a complex piece that is very easy on the listeners ears, and translates its motif's in a clear and precise fashion.
mitchel
This piece goes with sort of an ABAC form based on the bassline. It starts with my original whole tone idea, then for the B and C sections, it was slightly modulated using the tools in the synth window. I started with an intro that was rubato and kind of spacy. It sounds almost as if creatures are speaking to each other in this section. Same idea for the ending.
rosen
rumrill
seaver
For this piece, I focused on one central sample from my set of presets and expanded upon various elements of it, using other samples derived from it in the Image Synth room or processed in the Effects Room. . I used other material as a means of providing registral contrast and rhythmic motion, but felt with only two minutes I should focus my main development on just this one preset.

This initial sample (preset01c), is introduced as a repeated fragment, sounding quietly and alternating between far left and far right. This alternation of stereo placement along with the introduction of variations on preset01c are developed and layered, with older ideas dissipating as they are drowned out by new ones. The texture thickens with each burst of new material for about two minutes, after which point there is a sort of self-destruction: instead of the original preset01c being repeated, the more basic preset01 (from which preset01c was derived) replaces it.
spooner
This piece was sequenced in Cakewalk SONAR 6 Producer Edition. DSP included Sonitus EQ for equalization, Sonitus FX Reverb for spatial effects, and Izotope Ozone 3 for mastering (final compression and harmonic excitation). All sounds were created in MetaSynth.

The composition is roughly A-B-A-B. My goal was to use the Image Synth to create a piece with a reoccurring melodic line and sense of rhythm. My three main presets were purposely created with 1) atmospherics/texture, 2) melody, and 3) rhythm in mind so that each would complement each other and have a place in the composition in SONAR.
stoltz
I used MetaSynth’s spectrum analysis tool to apply a recording of waves recorded at Lake Ontario to certain harmonics of the overtone series of B(+31 cents). I created a custom scale based on this tuning in the Image Synth room and adjusted the tuning in WaveSynth to achieve my scale. Middle harmonics (5 and higher are heard first: harmonics 1, 2, 3 and their multiples are removed) are first introduced to create a D#-minor-like sonority. Eventually the fundamental and other strong harmonics are then sounded. Three prominent waves are heard at about 0:27, and they begin to be developed.

Then, harmonics around partial 3 and their multiples are pronounced, and it sounds like an F# pedal (dominant), call this the “retransition” if you will. A slow, contemplative ending fades away with all of the scale members present shaped by the natural envelope of the wave. It is, however, altered using rotation and other filters used in the Image Synth to create a slightly unnatural envelope.

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