Friday, September 12, 2008

Forum – Week 7 – Semester 2, 2008: “Student Presentations”

Behold, the power of sine tones...

Sanad kicked things off nicely this week with a pumping dance track laden with interesting vocal manipulation and sonically rich harmonization. I felt he should give his work a little more deserving credit as he was quite dismissive of many of his ideas as ‘cheesy’.

Peter played us some sine tones, hooray.

I’m glad John presented his dark side once again with another piece of “there’s a saw next to me, I think this guy wants us to cut our own feet off” ambience straight from the bowels of industrial Hell. It was great to hear it through the Bose monitors and all the fat bass therein.

Mr Mazzone snuck in fashionably late as usual, but not too late to deliver us with another dose of SC mayhem. I need to practice using the Schedule classes more.

Freddie continued the theme of the day with the old “when it works properly x is supposed to happen” etc. It’s easy to laugh when this happens to other peoples presentation/performances but I’ve certainly had my share of technology induced issues.

I liked Doug’s instant ‘Scarface’ score maker. I’m glad he mentioned 70s film as analogous to it’s output as I was thinking the same thing (well, early eighties anyway).


Reference:

Whittington, Stephen. “Forum – Week 7 – Semester 2, 2008: Student Presentations.” Workshop presented at EMU Space and the Audio lab, levels 5 and 4, Schultz building, University of Adelaide, 11th of September 2008.

Labels:

3 Comments:

At 8:52 AM, Blogger John Delany said...

"another piece of “there’s a saw next to me, I think this guy wants us to cut our own feet off” ambience straight from the bowels of industrial Hell."

Glad you liked it - you certainly have a way with words ;-)

 
At 6:23 PM, Blogger edward kelly said...

excerpt from a rather long winded blog entry :)

I feel ... my use of formulaeic derived methodology to replace the overt human aesthetics (eg pitch/rhythmic choices), requires the use of simpler, purer tonality to represent the audio output. The inclusion of richer timbres creates denser levels of complexity through the interaction of their extended harmonic components ... I desired the purity of sine tones to help reveal the inner working of the mathematical process, their interactions were desired as a particular mental abstraction overlayed onto what I conceived as a continually morphing spatial panorama where overtones would only create muddy patterns.

for a more expanded view of why I like sine tones

 
At 8:26 AM, Blogger David J Dowling said...

Hmm...After some careful study of the etymological facts concerning the term 'sine tone' I have reverse engineered its evolution thus:

sine tone: simple tone: simpleton.

Now I know why they bore me.

 

Post a Comment

<< Home