The surface conduction transducer I ordered arrived the other day. Initial tests revealed it to be.. not that powerful. So, it’s not really going to work for the installation, if we’re even out of lockdown by the date of the show. However, I can definitely think of some uses for it, the first being using it with a sheet of metal and an electromagnetic pickup (or two) to make a nice clean plate reverb. Curtis also suggested using it alongside a contact mic to create weird impulse responses from various objects, which is a fantastic idea, and something I’ll explore during the mid-year break.
I’m also looking at prices for the more powerful Dayton Audio transducers, and it looks like I can get a pair for $50. Next time I make that much from sample pack sales, I’ll dive in.
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My final project for Adam’s sound design specialty was a pretty intense process.
I think I was a little ambitious in synthesising 90% of the sounds (using Nord Lead and MS20 processed with DtBlkFx and Paulstretch), because it didn’t really leave me with much time to create backgrounds or music as detailed as I’d planned. However, I’m pretty happy with a few of the shots, in particular where the object rises from the ground, and the noisy shot that follows shortly after that. Being an animation meant that it was both to my advantage and disadvantage that the sounds didn’t have to be entirely realistic, and perhaps I should have chosen something more based on live action footage. Either way, it was an interesting exercise to get even deeper into the world of synthesis. Plus, now I have a huge library of noises from my MS20 that were unused in the above design (over 700 sounds)
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I’ve created a short set of music for Infinite Wurldwide, to be played on Wednesday night, and I’ve noticed that I’m starting to use some of the layering, editing and processing techniques from this semester in my solo work, particularly in this case where I’m able to create something in advance rather than playing live. One piece towards the end uses sidechained, Paulstretched synth strings underneath an excerpt from an improvisation I recorded years ago using my Monomachine to process an input from an electromagnetic pickup, placed on various interference-creating devices. I hadn’t done much layering like this before, and even though the two recordings have no connection to each other (apart from the sidechaining), it’s really interesting to hear them connect by coincidence in places.
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Here’s a good video, where Junkie XL describes the various “levels” of music editors for film, and their relationship with composers. It’s interesting to see that sometimes music editors have a large amount of creativity in terms of arranging the composer’s music, almost becoming a second composer.
It’s also interesting that he mentions music editors may choose that career path to avoid the “burden” of having to constantly write new music, and are more interested in using their creativity to enhance/warp/remix what’s given to them. I’m thinking this may be some interesting work to pursue, as I do enjoy this style of creative editing and remixing. Not that I don’t have fun composing from scratch, but I feel like it might be a little less stressful than having to come up with new ideas all the time.
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Pilgrim animation
Once again, I haven’t had a chance to work on this due to working on another sound design assignment, but I’ll be getting back to it in the next few days. Collaborator wasn’t happy with the new ending I created, as it was too “heavenly” and against the original idea (for more subtle music alongside intense visuals). She’s suggesting that I use an adaptation of the original demo score, but I think I’ll give something original another try before doing that.. perhaps presenting her with both options. Either way, I think I’m beginning to accept that just because I think something fits, doesn’t think my collaborator will, so this has been a good learning experience overall.
Overwhelming installation
Along with the transducer being underpowered, I had another disappointment/failure regarding the installation. I went in to the space on Monday to test some things, and nothing I tried would allow for the 5.1 template file I’d created in Premiere to work correctly on my collaborator’s Macbook, despite our setups being similar. As a result, I think I may have to abandon the idea of having a speaker beneath the installation, and instead just use the room audio for the whole thing. I’ll give it one more try before the showing (again, if we’re allowed back on campus), but I’m willing to let it go if it just doesn’t work.