Sounds from the Undeveloped Nature of the Human Distortion Box: Volume II
07.19.00Experiments in Computer Generated Noise
The second 'Volume' in the SFTUNOTHDB series explores the relationship between instruments and computer technologies. With this Volume I was interested in understanding aspects of MIDI technologies and how they related to the computer. I juxtaposed this with 'acoustic' instruments and traditional 'electronic' instruments in order to better understand the relationships between the two very different control devises for sound creation.
SFTUNOTHDB: Volume II
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Description
Every other track is comprised of a different and sometimes opposing method of creation. Several of the compositions use a MIDI keyboard as an interface to a soft-synthesizer that is entirely computer based. The soft-synth used was a 'grand-piano' sampler called 'Steinberg The Grand'. It is a sampled instrument of a real grand piano. According to 'Steinberg':
"The samples used by The Grand were recorded at 24-bit, 48kHz resolution from a Kawai concert grand in an anechoic chamber, and together make up a hefty 1.3Gb of data. Because of this, there are three CD-ROMs in the gatefold pack. The first contains the Mac and PC instrument files, along with an 18Mb audio demo, while disks two and three house the sample data."
With this I was very interested seeing the relationships between the various technologies being used and its connection to computer technology. I found it extremely interesting that anyone with a computer could create the virtual sounds that the sampler made. What was intriguing was the fact that the computer acted as a 'hub' for these sounds that were previously recorded, edited and turned into a sample bank that were originally derived from a physical, tangible instrument. The samples themselves are only reproductions of the real sounds, waveforms created. I then, in a sense, remixed these sounds. A listener is deceived in this transition because the sounds are so realistic in emulating a 'real' piano that the average listener cannot tell the virtual and the physical apart from one another.
What I also was interested in this experiment was understanding how the 'amateur' can play a role in the re-mixing and creation process. I myself have no ability in deciphering the logic of the piano instrument. At the time this was my first experience with trying to actually 'create' something with the piano. I am very interested in the 'amateur' logic and find what can be produced by the untrained in many ways much more interesting that what an accomplished pianist might create!
As far as the rest of the recordings are concerned I was also very interested in the relationship off the 'amateur' to the instrument. Most of my recordings take this as a primary feature but this was my first experiment in understanding the validity of 'lo-fi', amateur recording and realizing that it does have importance.
These recordings are concerned with acoustic instruments and how sound can be recorded and manipulated in the computer. Some of the recordings are just simple ideas - an acoustic guitar playing very slowly. Others are larger and longer pieces that record layers upon layers of information over each other. Many of the instruments (in true amateur fashion) utilize various objects around the house - pots and pans, stomping on the floor. Occasionally a drum was present to make different sounds. Cymbals, piano, and guitar were also used.
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