Just
tidying up a bit here...don't mind me. This page has grown to a
substantial length, and it is time now to neuter it down to size.
Snip Snip. So, whereas I threw the current Cocksocket-approved
design up here a couple of months ago just to get things limping along
again, it is now time to introduce *gasp* a nother page. In
the spirit of museumifying, you may now make use of the partially
resurrected running joke. It's just a storehouse for shit that I
wrote in the past, and for now I am just resurrecting the vital organs
-- a.k.a. the very recent posts that no longer fit here.
The
real running joke goes back a few years, and contains a rather uneven
collection of musical musings, tepid sports fanaticism, idiotic
ramblings, and silly photos. At some point I will add THAT history
to THIS history.
But
not tonight.
No
sir.
It's
bigger than you and I.
Combined.
Otherwise,
I shall not provide a nother candid look into the painful
learning process that surrounds Csound. Instead I offer an
interesting interview with Sean Booth -- half of Autechre, which remains
one of the more interesting musical burbles in the soup.
This one comes from about five years ago.
03.29.2006
As
previously mentioned, I am affected by a serious, perfectly normal
desire to twiddle knobs. Knobs of a particular variety, shape, and
substance. I want to frickin' modulate frequencies with other
frequencies in the worst way, y'all! My current path is headed
toward developing a very real means of twiddling virtual knobs in order
to scratch this itch.
And
I have evidence. I have managed to fabricate a couple knobs out of
some electronic fairy dust, and, while I may not yet have actually gone
so far as to twiddle them, per se, I have managed to turn them
ever so modulerately. So to speak.
Here
is something I call Twiddle-10, which
proceeds thus: a single sine wave for a couple of seconds,
followed by three sets of seven frequencies modulated by other
frequencies; each of these 21 bursts lasts for one second. Twiddle-10
then ends with 13 or 14 more 1-second bursts, again all modulated
things. One of these modulations is repeated 4 times
exactly. This is the first tone of each set of seven, as well as
the first tone of the last set. It goes like "beep", but
in an unusual way.
Each
set of modulated tones (three sets of seven and one set of 13 or so)
represents a sort of "knob sweep" across a different
dimension. The first set, with each additional tone, changes the
base frequency -- the one common to both the carrier and the modulator
-- from 600 hz down to 100 hz in six incremental steps. The second
set (also seven tones), changes the carrier along the same scale.
The third set of seven changes the modulating frequency in the same
way. The last set of tones sweeps along an additional,
less-well-understood intensity variable. It
sounds nice.
Obviously
that makes total sense, but just to make sure everything is as clear as
possible, here is the orchestra file responsible:
instr 11
iamp = ampdb(p4)
a1 foscil iamp, p5, p6, p7, p8, p9
out a1
endin |
And
here is the score file:
f1 0 4096 10 1
;ins start dur amp kcps kcar kmod kndx ifn
i10 0 1 80 600 600 600 2 1
f0 1.5
s
;vary kcps
i11 0 1 80 600 600 600 2 1
i11 + . . < . . . .
i11 . . . . . . . .
i11 . . . . . . . .
i11 . . . . . . . .
i11 . . . . . . . .
i11 . . . 100 . . . .
;vary kcar
i11 . . 80 600 600 600 2 1
i11 . . . . < . . .
i11 . . . . . . . .
i11 . . . . . . . .
i11 . . . . . . . .
i11 . . . . . . . .
i11 . . . . 100 . . .
;vary kmod
i11 . . . 600 600 600 2 1
i11 . . . . . < . .
i11 . . . . . . . .
i11 . . . . . . . .
i11 . . . . . . . .
i11 . . . . . . . .
i11 . . . . . 100 . .
;vary kndx
i11 . . . 600 600 600 2 1
i11 . . . . . . < .
i11 . . . . . . . .
i11 . . . . . . . .
i11 . . . . . . . .
i11 . . . . . . . .
i11 . . . . . . . .
i11 . . . . . . . .
i11 . . . . . . . .
i11 . . . . . . . .
i11 . . . . . . . .
i11 . 3.5 . . . . 13 . |
Anyway,
that's that for now. I am likely to be neck deep in this soupy
shit for the foreseeable future. Plus, I won't be around this
weekend coming up. So I'll just talk to you later. Okay?
