Live Granular Engine
„I let the chord ring and tell the software with a gesture to endlessly repeat those exact 500 milliseconds. Then I access the elementary parts of the tone and transform them into something new. I keep on playing and combine the newly generated sound with familiar listening habits up to the point, where I gesture the software once again to endlessly repeat those exact 283 milliseconds.“
– Ralph Rubin
Composition and performance of a sound manipulated piano piece!
|Work||Master thesis by Ralph Rubin in the degree course "Interactive Mediasystems"|
|University||University of Applied Sciences in Augsburg|
|Reader||Prof. Robert Rose and Prof. Dr. Michael Kipp|
|Written in||MaxMSP (v.7)|
|Used Hardware||Leap Motion V2 sensor, self-built 32-pin single-coil pick-up, Oktava Mk 012-01 MSP2 Pair, MOTU Traveler MK3, Behringer FCB 1010|
What the hell is going on there?
117934~ is an experiment to extract new sounds from a classical upright piano via sound manipulation. The audience should be presented with a composition of familiar listening habits and newly created sounds. The sound is picked up by a self-built 32-pin single-coil pick-up and two condenser microphones, gets manipulated in a piece of software and is finally presented to the listener.
This work is focused on the development of a software to edit live-recorded sound material in real-time. The MAX/MSP-based software allows the access of the latest 12 seconds of played audio. With the help of a gesture recognition sensor it is possible to choose any sector of this sequence and let it repeat endlessly. The chosen sector gets buffered and can be manipulated by granular-synthesis in real-time. The program flow and parametrization of the granular-synthesis is visualized by a specially developed Graphical User Interface and is controlled by a foot-controller.
SettingsHere you can choose the audio-device, the inputs, the midi-port and the driver.
Circular-BufferThis buffer constantly records the last played 12 seconds without any hearable acoustic breakpoints.
Temporary-BufferAs soon as you have catched 12 seconds from the Circular-Buffer, it gets automatically copied into the Temporary-Buffer. There you do the exact selection of your piece of audio by gesture control via the leap motion sensor.
Grain-BufferNow you can copy your audio-selection into one of four Grain-Buffers to do granular synthesis. You can manipulate your audio-selection by changeing the following parameters: Grainsize, quantity, amount, speed, stereo-spread, fade and position-variation. With B.I.T. (”BangInTime”) you can force the audio-selection to start from the beginning.
Step-SequencerFinally you can put the manipulated audio-selection into a step-sequencer. There you can create rhythmic patterns by controlling the step-sequencer`s interface with the leap motion sensor
|Used Max-Externals in 117934~||Akamatsu, Masayuki: aka.keyboard und aka.leapmotion.
http://akamatsu.org/aka/max/objects/ (CC 3.0)
|Dobrian, Christopher: tap tempo.
|Muir, Chris: EveryNumber.
|Pasquet, Oliver: op.buffercopy.
|Rozendal, Timo: grainstretch~ (v20120126).
The Live-setup in detail
One more thing:The 32-pin single-coil pick-up.
A further experiment in 117934~ is a self-built 32-pin single-coil pick-up. A lot of gain is used to push it loud and the sound is quite special and reminds a bit of the sound of a Yamaha CP-80 but convince yourself and watch the video. The sound you will hear is solely recorded with the pick-up, no microphones were used.
|Special thanks to||Gerhard Stachulla, Julia Barton, Claus Hoffmann, Professor Robert Rose, Professor Dr. Michael Kipp, Elias Naphausen, Benjamin Paska, Dominik and Valentin Scherer, Jakob Nicklbauer and YEAH.|