Category Archives: commission

Shorts #42: Lacewing

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Lacewing

This piece was commissioned and titled by Tim Walters.

This piece has two instruments – one uses the Ringz Ugen in SuperCollider and the other is a Sine wave which is phase modulated by another sine wave where both are tuned to the same frequency. It is in harmonic minor, tuned with the default just tuning.

Harmonic minor is known as “Mogen Ovos” to klezmer musicians. Rather than apply western harmony practice (except for the final cadence), every player is picking notes independently. The just tuning helps hold the notes in a key centre.

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Shorts #41: Catalyst

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Shorts #41: Catalyst. Commissioned and titled by Andy Bannister

This piece was commissioned and titled by Andy Bannister.

Explaining why he picked this title, he said, “My thought process for this, is that the first half sounds like a catalyst for a reaction towards the latter half which could also be interpreted the sound of a substance or object changing state, like liquid to gas etc.”

The time elapsed between the original commission and this post is a lot longer than usual and I can’t remember how the piece was made, but according to my filing system, it was made using chaos synthesis on a Eurorack. This is a type of frequency modulation where oscillator A modulates oscillator B, which modulates oscillator C which modulates oscillator A. This is an exciting system because the feedback makes it chaotic.

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Shorts #39: Something Happy

[play]Shorts #39: Something Happy (2016)

Commissioned and titled by sevenhelz in honour of Deathboy.

This piece is influenced by the Vaporwave genre and movement and was written in SuperCollider. The melody is based on a markov chain of common melodic gestures. The instrument is based on the ‘Epic Sax’ code by Rukano. The bassline is adapted from the help file on Patterns. The plucking instrument’s durations is quarter divisions of random durations used by the melody, which is what gives it it’s slightly odd character.

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Shorts #38: distant scritches

[play]Shorts #38: distant scritches (2016)

Commissioned and titled by sevenhelz in honour of Deathboy.

This piece was written in SuperCollider. All of the sounds are generated using the Gendyn4 UGen, which is based on descriptions of stochastic synthesis published by Iannis Xenakis in Formalised Music. This means that the timbre is generated by probabilities. The ‘pitches’ and sound controls are also controlled by random numbers, repeated in a structured pattern.

The sounds change to become more resonant over the course of the piece. The addition of reverb is what primarily gives the piece its character.

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Dick Pic Hymnen

[play] Dick Pic Hymnen (2016)

This piece was commissioned by lesbiancockslut.com [NSFW]

When commissioned, I appealed on twitter for people to send me dick pics. Specifically, encrypted dick picks, to highlight that various national governments are spying on our sexts. In return, I was sent two unecrpyted images and one encrypted one. The unlocked images were of a tin of spotted dick, and a rooster (known to the English as a ‘cock’). The encrypted image was of the sender’s ‘friend, Richard.’

I took these files and played them as if they were wav files. Compressed and encrypted files sound like white noise, so I took the two unencrypted images and converted them to raw image formats. I then converted those to raw audio and used them as samples.

The pitches and rhythms in the piece are taken from a hymn that was popular in American Catholic churches when I was a child.

The images in the video are (obviously) not the images in the audio, as those were of unknown copyright status. The video images come from picasaweb.google.com/lh/photo/hJOtwAhiy6I9de3uFZxJUw and ommons.wikimedia.org/wiki/File:Boxerbriefs.jpg

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CCR76 (1969 / 2015)

[play]Shorts #36: CCR76 (1969 / 2015)

A realisation of Nature Study Notes CCR76 by Cornelius Cardew, commissioned by Stefan Szczelkun.

Nature Study Notes is a collection of 152 different rites, or short text ‘scores’, used by the Scratch Orchestra as a spring board for improvisation. CCR76’s text says, ‘It’s not music. It’s my heart beating.’

For this, piece, I started with the most obvious cue. I downloaded a sample of a heartbeat from Freesound and recorded my coffee grinder, which I felt alluded to a rapid heart rate. Both of these sounds appear with no modification, but the heartbeat sound is also used for amplitude modulation and ring modulation of a FM sweep I coded in SuperCollider. The piece was assembled in Ardour.

This piece was used in the Scratch Orchestra Nature Study Notes performance at Cafe Oto in London on 22 February, 2015. As Stefan only had one speaker, the piece is in mono.

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Shorts #35: Radioactive Wellness (2014)

[play]Shorts #35: Radioactive Wellness (2014)

Commissioned and titled by Chrissie Caulfield.

Chrissie asked me to write something with a radiation theme for her friend, who is having radiotherapy for cancer. I looked into getting a geiger counter, and even found who might lend me one, when I realised I would need a radioactive element in my studio. Also, as I was thinking of what to do with the clicks, I realised I wanted to use them for triggers, so I would need a geiger counter with a line out and everything seemed to be getting overly complex. In the end, I realised chaotic or stochastic noise would sound the same as the effect I wanted, which much less of a chance of accidentally gaining super powers (that’s what happens when you mishandle a radioactive element in your studio / workshop, right?).

In the end, I made this with my MOTM modular synthesiser. The final recipient was reportedly very happy with it.

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Shorts #34: Bubbles (2014)

[play]Shorts #34: Bubbles (2014)

Commissioned and titled by Sonia Elks.

Sonia asked me to write an analogue piece that wasn’t glitchy. Very often, I work with FM chaos as a way of controlling pitch and timbre. However, for this piece, I used FM chaos for control voltages only, and not directly for sound. One of the oscillators was controlling pitch of the source signal, one was controlling a high pass filter and one was controlling a low pass filter. For some of the tracks, the filter resonances were turned up very high, so the filters were ringing and acting like oscillators.

This piece seemed a bit poppy, so to further that, I put some compression on the sounds and also a bit of reverb. The source material was from my MOTM synthesiser, edited in ardour and had the final fx applied in audacity.

If you would like to commission a one minute piece, check out my online shop.

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Shorts #33: Birthday Music for Caroline (2014)

[play]Shorts #33: Birthday Music for Caroline (2014)

Commissioned in honour of Caroline’s birthday – “Happy Birthday, love from Lauren and Alistair”

This was a digital piece using a very large number of scripts. First I wrote a SuperCollider script to generate some stochastic sounds. Then I wrote a script to convert audio files into bmp graphics files. Then I wrote a script to convert those files to jpegs, glitch the jpegs and convert back to audio. Then I also did several revisions of drawing more and more on the images in GIMP to transform them. I ended up with several batch processing scripts to glitch audio using visual data processing. I’ve put some of them on github and the rest will go after I fix some bugs I found after finishing this piece.

After generating loads of material, I listened to it and assembled it as a collage in Ardour.

The images are also kind of interesting! 2.aiff.au.bmp.jpg.gl

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Shorts #32: Stochastic Tendencies (2014)

[play]Shorts #32: Stochastic Tendencies (2014)

Commissioned in honour of Paul Berg, who was my teacher at the Institute of Sonology in Den Haag, when I was there for the course in 2006-7.

Paul Berg is the inventor of the AC Toolbox, which allows composers with Macs to do algorithmic sound generation. The class he taught spends the first several weeks covering a very thurough history fo electronic music, before switching to cover how to use several different tools, including AC Toolbox. Paul has decided to retire, so future students, alas, will not get the benefit of this amazing course, which was definitely a highlight of my time in the Hague.

This piece is made on my MOTM Analogue synthesiser, but applies several ideas I would more normally use in digital synthesis. It has random attack times, generated by using a random signal (filtered noise) triggering a switch with a variable threshold. When the random signal exceeds the threshold, the switch sent a bias as a gate to an envelope generator.

This piece also uses a very rough approximation of tendency masks, using a varying lag time for CV voltages that were increasing or decreasing.

It is mixed in Ardour, with some reverb added to the final mix in Audacity.

Because Paul is retiring this year, one of his former students contacted several of Sonologists and asked us to write short pieces to be put into a device called the ‘AC Juke Box’. The only constraint was that the pieces had to be mono!

Paul Berg’s scepticism about multichannel audio is legendary and also makes a valuable point. A musical gesture does not become interesting because it is moving in space. It’s too easy to use spatialisation as a substitute for generating interesting material. Paul’s tools and teaching all were aimed at generating interesting material. I hope this short piece contains some.

This piece is in mono. It also contains low frequencies that may not be audible though the internal speakers on some laptops, so you may wish to use headphones or external speakers to listen.

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