What good is a Weird Sound Generator if you’re not using it to make weird sounds? Sometimes it is nice to just hold it on your lap and stroke it gently. That aside, it’s quiet useful once you plug it in and start twiddling the knobs. Here’s a piece I created by tuning the each of the four oscillators on the WSG and then fiddled with the filters. At the same time I made some adjustments to a phaser that I was running it through in Ableton Live and topped it off with ping pong delay.
This weekend I completed building a Weird Sound Generator, or WSG, component kit from Music From Outer Space. The kit comes with a printed circuit board and all the electronics, including resistors, capacitors, diodes, ICs, potentiometers, switches, and wires. The rest, like the housing, faceplate, and soldering is up to the builder.
I built a box similar to the recommended specifications and cut the faceplate out of an old computer case. The wood I used was scraps that I held onto and recycled. In fact, I managed built the entire instrument without buying anything beyond the kit itself. Even the stain, nails, glue, screws, and backing board were materials that I had hoarded from previous projects over the years.
It took me about thirteen hours to complete. But, it was a fun thirteen hours of playing with my soldering iron and power tools while following instructions, or coming up with a way to cut through metal, or mount a nine volt battery inside an already cramped case. And, although the case isn’t perfectly square, and the leads are more than a bit tangled, I’m pleased with the little noise maker that I now have at my disposal. In the next entry I’ll illustrate the sequence of events that took place in building this device. Oh yeah… and sounds.
This is one of the coolest (no pun intended) sound design projects ever. Marlin Ledin rode his bike and camped around the Apostle Islands of Lake Superior covering about 150 miles on the ice recording the creaks and groans of the shifting ice plates. Listen to his recordings and checkout photos and videos of his expedition at www.bikingtheapostles.com. Marlin describes the ice sounds:
The Lake Drums, as some people call them, are an amazing phenomenon that rank right up there with Aurora Borealis. Lake drums, or drumming perhaps, occurs when a shift in the ice creates friction between sheets of ice, like tectonic plates of the earths crust. The unique sounds created come after these shifts in the ice. I ventured out and captured some of these sounds with modern recording techniques.
I am curating a series of Experimental Music events hosted by the Kitty Cat Klub in Minneapolis, Minnesota. The first installment is Monday, March 1st, 2010. Subsequent installments are scheduled for the last Monday of every month. For the first show we have three performances.
Ostraka (myself) with Graham O’Brien on drums will be performing using the GMS. Terr the Om (Nathan Brende) will also be performing his distinct breed of electronic music, melding the output from his circuit bent toys with looping and real-time arranging in Ableton Live. Thirdly, Dialsystem consisting of brothers, Graham and Casey O’Brien will likely mesmerize listeners with their ethereal mix of bass, drums, and electronics. Music starts at 9:00pm.
I’m in the process of booking the upcoming events, so if you are a performer of experimental music and would like to get involved, please send your name, artist name, contact information, links to a biography, and links to audio examples to emm [ at ] audiocookbook [ dot ] org.
I’ve just read a fascinating article about composer, David Cope, who is known for creating music in the style of Bach, Mozart, and others with software he developed called Emmy. I first heard David Cope’s work on Radiolab, and was intrigued by his approach. The article, Triumph of the Cyborg Composer, discusses his latest application titled Emily Howell. Cope is using the computer in a more collaborative way to compose music is his own style with the help of his program. A couple of audio examples within the article illustrate the musical results.
Cope has received a lot of criticism regarding his work, including statements that his music lacks soul because it was written by a computer. But was it really written by a computer? I think a better term is generated. Cope wrote the software, so I would argue that the music generated by the software was ultimately written by the software developer. In this case Cope himself. In other instances I might argue that the music was created by the user of the software tool, rather than the developer of the software. It comes down to who is at the controls. What decisions are being made, and by whom, or perhaps what?
Since I’ve developed and am currently using software to perform and record generative music, I am curious about your opinions. You may have heard pieces on this site generated by the GMS. Perhaps you listened to the excerpts in the article. What do you think? Does music generated by computers lack soul? Does it diminish the human, communicative qualities contained in the work? Or, are we using computers simply as tools? Perhaps, as computers and software evolve we might begin to collaborate artistically with them rather than just use them slavishly. Based on Cope’s work and others, I believe that we are closer than we think to this becoming a reality.
Gizmodo has a couple of interesting articles illustrating how the race to release a multi-touch slate device is heating up. First up is Slate Showdown. In this article specs from a broad collection of upcoming slates have been compiled and compared. Devices running Android and Windows 7 will be the most prevalent competitors to Apple’s iPad.
Another impressive development are new details regarding Notion Ink’s Adam Tablet. Reportedly the Android device will output 1080p video via an HDMI output, has a 10.1″ capacitive touchscreen capable of recognizing six simultaneous points of contact, and supports Flash.
Love or hate the iPad, it has certainly stirred up the pot. Most of these devices were under development long before Apple’s announcement, so what we’re seeing is not necessarily a “jump on the bandwagon” effect, but more of a “hey look, over here, we’re already working on that!” reaction.
The alleged fear of litigation over Apple’s supposed multi-touch patents has seemed to evaporate as more and more devices are announced. And let’s not forget Jazzmutant’s beloved Lemur. Take a look at Peter Kirn’s article What’s Next For Lemur for a lively discussion about the controller, it’s future, and competitive products.
I successfully installed an official Google Nexus One update to my phone last night and have been giddily pinch zooming to my hearts content ever since.
The previous lack of multitouch support on the N1 led to speculation about Apple patents and possible litigation against American companies including it on their handheld devices, but Google no longer seems worried about it.
It will be interesting to see the reactions to this, but in the meantime I’m feeling pretty glib about my decision to buy the Nexus One.
Of course this doesn’t change the potential of the device for multitouch control or music apps, however, it might attract more customers, and as a result, more developers to the platform.
Furthermore, I have been researching a variety developing stories about multitouch tablet devices to compete with the iPad. MSI is releasing a tablet running Android OS later this year. And Google has released concept photos of a tablet running Chrome OS, that is reported will support multitouch capabilities.
So, for many of us who were disappointed by Apple’s iPad announcement last week, there are a variety of competing and more open devices on the horizon that could very well satisfy some of what we’re dreaming of for open, multitouch, interactive, music devices.
I love the texture of this sound – it’s infinitely sampleable, and equally uncontrollable. A thin coating of oil, rubbed into the pan – then heat it on high for 5 minutes. After a while, the water becomes so hot and isolated from the surface of the metal it superheats (boils without bubbles). This creates the beautiful dancing effect you get, similar to when mercury is loose on a solid surface.
The recording was made on a fostex FR2LE with a canon digital camera for visuals. The single hits would be cool for super fizzy percussion, don’t you think? Sampled at 24/96 on a fostex fr2le in stereo, 12 inches above the pan.
Checkout this video made by Chris LeBlanc. Chris is using LEDs attached to a rotating bicycle wheel as an input device for the GMS. Chris and I had a session recently where I showed him ow to sync the GMS up with Ableton, and the next thing you know he’s come up with a new way of using the software. Nice one, Chris!
I have been re-reading articles on Generative music in Audio Culture : Readings in Modern Music again, and some unplanned generative music took me be suprise – dripping from my jumper.
I set up a few cardboard loo rolls to resonate with the sound and stood around for 5 minutes recording it all. There are some really interesting syncopated moments, all underpinned with a regular metronomic beat. I liked the intrusion of external sounds to the mix, as you listen on. A Happy accident
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This is one of the coolest (no pun intended) sound design projects ever. Marlin Ledin rode his bike and camped around the Apostle Islands of Lake Superior covering about 150 miles on the ice recording the creaks and groans of the shifting ice plates. Listen to his recordings and checkout photos and videos of his expedition at 
I am curating a series of Experimental Music events hosted by the 
I’ve just read a fascinating article about composer, David Cope, who is known for creating music in the style of Bach, Mozart, and others with software he developed called Emmy. I first heard David Cope’s work on 
I successfully installed an official 
I have been re-reading articles on Generative music in 