Music by C. HUTCHINSNew Electronic and Acoustic Sounds
Welcome to the artist website of Les Hutchins.
Commission a short piece
I'm working on an album of pieces around 1 minute in length. I expect it to be done in two or
three months. It is possible for you (yes, you!) to commission a piece on the album.
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All of my SuperCollider pieces require several silent seconds to clear existing memory, pre-compute data and load joystick drivers. I find it helpful in many circumstances to play short tape pieces as intermezzos while other, longer pieces, get ready to play. This particular one is designed to be used between pieces involving an old fashioned, large joystick. I timed how long it takes to load pieces that involve that joystick and it tends to be around 40 seconds, so this intermezzo is 45 seconds long.
The musical sounds are generated in SuperCollider, using pulse width modulation, constrained to 8 bit resolution, to give it a retro videogame sound. The game sound FX are from Wolfenstein 3d, the first first person shooter, in front of which I wasted many many hours of my youth. Thanks to Eric Bumstead who actually had a copy of it!
I wrote this piece for BrumCon 07. The con was sponsored by our local 2600 group, so I decided to use telephone in-line signaling codes as source materials. I spent a lot of time readin up on phone phreaking, which was just so completely cool. I never did it as a kid because the threats my dad made against me were so dire. But man, it was awesome!
The piece, though, is slightly silly. Well, maybe more than slightly. I doubt I’ll play it again, but I think the logic I used around the drum beats will definitely be refined and reused.
In the spirit of the con, the fugly, un-clean code is below the cut, along with some explanation of what the heck is going on. When I say ugly and unclean, I really, really mean it.
Every other week, I have to give myself an injection of testosterone. I find it really hard to actually pierce my flesh with a needle. It’s like stabbing myself. At the same time, having testosterone in my body is crucial to my identity.
About a month ago, I used a small digital camera and apple’s photobooth software to film myself from either side, trying to do the shot. The pressure was intense. The shot went terribly wrong. It took me forever to work up the nerve to actually push in the needle and when I did, I didn’t push it in far enough. The testosterone leaked back out of my leg through the puncture.
I created a soundtrack to this disaster using SuperCollider. The sound sources are my voice and de-tuned sine wave generators. The left and the right channels differ by 10 Hz. The sine waves move along a tuning lattice but with so much imprecision that the lattice becomes meaningless. Their timing is out of synch. Finally, a clock ticking sound comes in. How long has this been going on? How long have I been sitting here holding my needle? How long is this going to take me? How many more times will I have to go through with this?
Until the end of my life.
The video is created with Processing.org. Every time a new sound starts, the picture updates, but with a a lot of transparency, so time bleeds together and the images become blurry. I’d hoped that through the repetition of images that I experienced in making this piece, that doing the shot would become demystified and I would exorcise my demons. Did it work? I’ll tell you in two weeks.
Commissioned and titled by Josh Fruhlinger. (2007)
Josh gave me the title before I started the piece. Gil Thorp is the name of a surreal American newspaper comic which is supposed to be about high school sports. Josh runs a blog discussing newspaper comics, called the Comics Curmudgeon.
I recorded (British) football from my TV, which included my housemate clapping after a goal. Then, I decided to use white noise, because it’s very similar to crowd sounds. I filtered it a lot to make sort of screetchy sounds. The football announcers didn’t exactly have the accent that I would expect Marty Moon to have, so I kept them in the background. My girlfriend said that it struck her as very Mark Trail-like, so I raised the volume of the background at the end, to make the sports connection clearer.
Bird-like sounds remind me of high school sports, but that’s probably because my high school had a terrible seagull infestation.
I suspect this particular piece might get especially high traffic, so I made a little YouTube video to go with it, but feel free to grab the mp3 if you prefer.
I used my cell phone to record Nicole clapping inside the cathedral in Breda, the Netherlands. There was an exceptionally long echo on her clap.
I used Audacity to snip out the impulse response from the recording and convolved it several times with the entire recording, using Sound Hack. My cell phone, unsurprisingly emphasizes high frequencies, so the last one I played at half speed to drop it an octave. I mixed these sounds together in Ardour.
The video was some weird cell phone format, which I converted with ffmpegX and then tweaked the speed by writing a little program in Processing. I mixed the whole thing together in iMovie.
That’s seven separate programs, not counting the ones I couldn’t get to work. Obviously, this is an experiment, but I’m looking forward to making more tiny movies.
Also, that sound you hear at the very end of the piece is from my dog barking her head off outside the cathedral. woof woof woof.
I talked today about whether or not he wanted to give me a title, and Scott noted that the piece has a “flatuent quality,” but it would be better to resist referencing that in a title.
To make this piece, I recorded myself playing a bovine signaling horn and a didjeridu, both of which I ran through a Sherman filterbank to use as FX. There’s also a little bit of feedback, especially the very last sounds. Processing a didgeridu turns out to be much more straightforward and easy than processing a cow horn. Something to keep in mind.
For this piece, I wanted to use a field recording that I made while camping over the summer. Visually, the campground looked like it would make a suitable set for a horror movie. The animals were correspondingly loud and screetchy at night and so I made a recording with my cell phone.
I listened to the recording a few times and it made me think of GrainPic, a project that I had intended to abandon. Everything I do with this always sounds kind of rough and unpolished, which is why I stopped working with it. But it seems to fit well with my memory of that campground.
I picked up my sousaphone this afternoon, with the idea that I could improve my chops and work out some angst. As I lifted it, the spit valve fell off. As I played it, several other bits rattled loose. Alas. So I put the headphone part of a usb headset around the part of the bell just above the bolts and started recording.
My voice has been changing. It’s more or less stable now, but I only have good control of it for about the bottom fifth of the main octave. After I sing some warmups, it feels tired. This process of learning to sing again in a lower pitch reminds me very much of switching from playing trumpet to tuba. Vocal cords and buzzing lips use the same physics, so it’s about the same idea. This is the first recording I’ve made of my voice since it began to change.
I found the last recording I made before it started to change and discovered I’d used the words “boys” and “girls” in a longer text. So I grabbed those two words and stretched them out a bit. It’s very very strange to me that’s no longer my voice. My voice now is the voice of a stranger. I wouldn’t recognize it in a recording.
I overdubbed some low frequencies from my MOTM synthesizer to make up for the headset’s inadequacies - it doesn’t have good frequency response in the tuba range.
The title of the piece is from a book by Jennifer Finney Boylan, She’s Not There: A Life In Two Genders. She talks about how she chose to keep her old voice. I can’t keep mine. It will never return. I feel a profound sense of loss for an attachment I never knew that I had. This is an elegy for my old voice. It was never lovely, but it was mine. No longer. It’s also an introduction to my new voice. The new instrument I’m just learning to play.
I started making recordings for this piece well before I made the piece, when I recorded two women in Paris answering the question “Est-que ce tu es une feministe? Pourquoi ou pourquoi pas?” (Are you a feminist? Why or why not?) Then, uncertain how to proceed with the material, I let it sit on my hard drive for over a year until Sula, one of the voices, contacted me asking if I wanted to play some music at ETC, a feminist hacker con.
Rather than do the piece entirely in French, I asked the same question in English to some of my American friends and then in German to some of the con attendees. All but one of the participants was put on the spot with the question. Part two uses the voices of Solène, Anna, and Aileen.
Some of the paramteres of this piece are controlled with a game pad.
I started making recordings for this piece well before I made the piece, when I recorded two women in Paris answering the question “Est-que ce tu es une feministe? Pourquoi ou pourquoi pas?” (Are you a feminist? Why or why not?) Then, uncertain how to proceed with the material, I let it sit on my hard drive for over a year until Sula, one of the voices, contacted me asking if I wanted to play some music at ETC, a feminist hacker con.
Rather than do the piece entirely in French, I asked the same question in English to some of my American friends and then in German to some of the con attendees. All but one of the participants was put on the spot with the question. Part one uses the voices of Kendra, Nick Dave and Sula.
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Joystick Intermezzo (2008)
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