Experimental Sound

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Week 13

This week we had no official classes meaning there is nothing to reflect on so I continued to work on my projects with a lot of steam. The overwhelming project is finally coming together with all the techniques I have learnt and the sounds I had created. This was incredibly rewarding as the project I had visualised was coming together. With Alex’s project, I was waiting on his updated animatic for the sounds were needing to be timed. I had done a little more on his work but in the grand scheme of things I needed to wait for the updated animatic. When I received it I just had to adjust the timing of everything slightly. Editing the Foley was also something that needed a little time. I also needed to finalise my own self project and just need to edit the volume of some of the sounds. This was also the result of the feedback I had received from Darrin. The volume fixing was quite easy to do and I finished everything on relative time.

The article ‘Game Audio: Generative music, emotions, and realism’ discusses the direction that the game industry music might be evolving into. This means that the methods artists used are changing from ‘pre-cooked’ to ‘cooked on the fly’. .it also discusses the effects of headphones being increasingly common within users and the effects this has on the believable experiences in relation to mood and general game play. The article considers the implications space and location has on how ‘scary’ a sound is. Generally, if the sound is easy to place then it is less scary however when the test subjects were subjected to a sound at 0° and ±45° of elevation it was found that with no context there was nothing scary. This is relevant as it means that creating context for my piece will be important.

Rumsey, F, 2015, ‘Game audio: Generative music, emotions, and realism’, Journal of Audio Engineering Society, vol. 63, no. 4, pp. 293-297.

This article ‘Effects of emotion regulation strategies on music-elicited emotions: An experimental study explaining individual differences’ explores the experience and individual has during music listening. It is said that people are able to use regulatory strategies to modify their experiences of emotions (Karreman et all 2017). This means a person can use suppression of feelings (not allowing oneself to experience the emotion) which requires self-regulatory services compared to the enhancement of emotions (the accentuation of feelings) which means giving into said emotion. This study finds that the older population tends to turn on happy music when in a negative mood to increase mood/emotion or to decrease loneliness. And people that score highly on the neurotic scale listen to more aggressive and sad music to express these negative emotions.

Karreman, A, Laceulle, O, Hanser, W, & Vingerhoets, A, 2017, ‘Effects of emotion regulation strategies on music-elicited emotions: An experimental study explaining individual differences’, Journal of Personality and Individual Differences, vol 114, pp. 36-41.

The track from Merzbow titled ‘Ananga-Ranga’ is one that I was introduced to after. This track has an element of almost screaming sounds. They are intrusive and for this reason gives us a sense of danger. Although the length of the track is 29 minutes it is not the same content all the way through.

Merzbow, 2012, Ananga-Ranga,Relapse Records Inc, sound recording, viewed 26 September 2018

<https://www.youtube.com/watch?v=1KWeSzqmmpI>

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Week 12

As the schooling year draws to a close there was no lecture and content raised in class to reflect on, more of a studio based learning where we showed what we had and got feedback provided to us. It was also quite difficult as the year was ending so there were all the assignments coming together. I had worked on my overwhelming project more of the research side and got some more suggestions on different sound pieces that would be effective to research about from Darrin and Ben alike. Continuing with this I had delved into techniques that the different sound pieces had and continued to implement these in my own projects. This was interesting as I had finally exported everything that I was happy with in supercollider into the daw on my laptop which was garage band. Putting it into a timeline and deciding on the timing was actually quite difficult. The length of the piece is something I wish to work up to. Having a shorter piece means there is more time for an attack and leaves the user wondering where as the long length I was going for allowed the audience to become complacent in the sounds unless I wanted to create more sounds but as the year was becoming increasingly busy I could not.

The research report ‘Biased emotional recognition in depression: Perception of emotions in music by depressed patients’ discussed the effects and limitations on patients with depression in deciphering emotions conveyed by musical examples. The article discusses how generally depressed patients clearly showed a negative bias in emotional qualities in music. They also state that if said patient had anxiety (and the severity of it) has a correlation to how strong the negative bias is. This was influential on my overwhelming project as personally this project is targeting depression and the severity of my anxiety and depression is extremely severe ergo giving the idea that when I listened to my own work I would theoretically display a larger bias to negative sounds than most.

Punkanen, M, Eerola, T & Erkkilä, J, 2011, ‘Biased emotional recognition in depression: Perception of emotions in music by depressed patients’, Journal of Affective Disorders, vol. 130, pp. 118-126.

The track titled ‘the experimental noise 4.0.1’ by Klaypool is something that I also quite enjoy as the higher frequency compared to the lower ones are interesting. This track I would say is overwhelming. I love how short this track is. This 42 second track introduces its sounds and ends with an oscillator ending with a short trail to really end abruptly but also not with a harsh cut off. This track is one of my favourites. The thickness of the sounds and the weight of them are great and it manages to induce danger with its siren like sounds.

Klaypool, 2012, the experimental noise 4.0.1, Independent, sound recording, Chile, viewed 29 September 2018

<https://soundcloud.com/klaypool/the-experimental-noise-4-0-1>

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Week 11

This week was all about presentations so there is not much to reflect on in terms of class content. There was a lot interesting things included in other people's presentations like the technical process they went through and how far along everyone is.

This paper ‘towards a neural basis of music-evoked emotions’ investigates the ‘principles underlying the evocation of emotion with music: evaluation, resonance, memory, expectancy/tension, imagination, understanding, and social functions’ (Koelsch, 2015). This serves as an extension from Koelschs previous paper ‘Towards a neural basis of music-evoked emotions’. However, in this paper he discusses how music has different functions for different people. This means that dancers, composers and players all get something out of music. In terms of evoking emotion, he delves into the theory that it might also be from having association with memory of an event. The amazing theory that Koelsch develops in this paper however is in regards of musical expectancy and tension. It is said that to increase the tension of a piece the things to include are sensory dissonance, loudness and timbre. It is also theorised that using a shift away from tonal centre can create further tension. To create a successful structurally sound tense and overwhelming piece it seems to need a build-up, breach, transitory phase, and resolution (Koelsch 2015).

Koelsch, S, 2015, ‘Music-evoked emotions: principles, brain correlates, and implications for therapy’, Annals of the New York Academy of Sciences, vol. 1337, pp. 193-201.

This week we received feedback from Ben and Darrin on our presentations. Taking this feedback into consideration I began delving more into research and working with a timeline from my sounds in garage band and ableton with the overwhelming sound project. The feedback I had received was in terms of having enough raw material but not enough structural integrity. Taking this into account I researched overwhelming projects and started to analyse what they had in their pieces so I can translate this to my own project. In doing so I’ve come across many different ways that equate to an overwhelming feeling. Some pieces had used space incredibly well and used it to holes in it to create suspense. Others had used the intensity of the sound to create and overwhelming experience. This thickness of the sound and unpredictability had created this intensity.      

Papaphilias track ‘it is no longer a question of forcing bodies to be docile or maintaining order’ is one of my favourites of the artist. This is not only because the title is amazing but the techniques used creates a powerful piece. Some might say it is not overwhelming but it does have a dangerous feel to it. She uses space and heavy sounds to create that sense of fear within the audience and allows the audience to be deceived by the sound. This seven-minute track takes us through different frequencies and attack levels giving a greater range of sound to be interested in.

Papaphilia, 2017, It is no longer a question of forcing bodies to be docile or maintaining order,À L'état Brut, sound recording, Melbourne, viewed 1 October 2018

<https://soundcloud.com/opsv/it-is-no-longer-a-question-of-forcing-bodies-to-be-docile-or-maintaining-order>

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Week 10

This week I had met with Alex and we had gone through every piece of the sound music and spoke in depth about what we liked and what we did not. Doing this was a rewarding process as it was interesting to see what he liked as creator of the animatic and for me to be creating the sounds and trying to get his vision translated into my own sound. We had decided that the sound was a little too crowded. I also needed to fix up the music sounds from the radio. By eliminating the sounds that were crowding we were able to fine tune the remaining music and really create that effective piece we were going for. I had also recorded what we needed to do, the small Foley sounds I had missed and some new Foley sounds that we had agreed upon.

The article titled ‘towards a neural basis of music evoked emotions’ explores the way music-evoked emotions modulate activity in most limbic and Para limbic brain structures via functional neuroimaging and lesion studies. Koelsch states that in studies there are common misconceptions that many people fall into. Some of these are that aesthetic experiences are not the only things involved in music-evoked emotions. The article is heavily based on science the science of which parts of the brain are affected by negative and positive music. For example, an observation of his was that activity changes in the amygdala was in response to positive and negative stimulations. This is important because it shows that the amygdala is involved in both emotions whereas in most studies the amygdala has been said to be the fear centre in the brain.

Koelsch, S, 2010, ‘Towards a neural basis of music-evoked emotions’, Journal of Cognitive Sciences, vol. 14, no. 3, pp. 131-137.

The track titled ‘experimental noise evening @ LCC - 25/11/2011’ has an incredible intro however the rest of the track possibly because it is almost 11 minutes long is a little flat. The reason I say flat is sounds are introduced and stay for a while and it becomes quite repetitive. It does however have nice sounds they just start to bore you. The sounds are quite weighted and the volume really fills your ears. The intro is amazing as it starts of small and the sound expands. It introduces new sounds well and the transitions are smooth.

Stamper, S, 2011, experimental noise evening @ LCC - 25/11/2011, sound recording, London, viewed 11 September 2018

<https://soundcloud.com/bitsnibblesbytes/experimental-noise-evening-lcc>

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Week 9

For this week, we spent our time looking at 4d cinema outside of the traditional senses. We spoke about how the reasons why we hold things to be special or artistic is the fact that our overstimulated senses cultivate the heightened aesthetic states.  This was important due to the fact that we have so many ways of perceiving 4d cinema and finding ways to utilise this in a reasonable way for purposes outside of entertainment. The most common purpose for 4d is the entertainment in places like movie world. While that is mostly fun using 4d to help people is even better.

This article ‘effects of listening to music on pain intensity and pain distress after surgery: an intervention’ explores the relationship between pain intensity and the effects of music on it. Music has been said to relieve patients suffering from pain, anxiety, and illnesses. Although this clinical study has many test results the main result is that the patients that had listened to music for a brief period had less pain than those in the control groups. However, it is also to be noted that music is more useful as a distraction from the intense pain these patients experienced rather than not using drugs at all as music influences moods and emotions.

Vaajoki, A, Pietilä, A, Klankkunen, P & Vehviläinen-Julkunen, K, 2011, ‘Effects of listening to music on pain intensity and pain distress after surgery: an intervention’, Journal of Clinical Nursing, vol. 21, pp. 708-717.

This week I focused more on my own self project and started to ramp up the production of the sounds. The sounds that I created were not working for the overwhelming side of the project. They were not working due to the fact that they were nice sounds but they were not hitting that point of I am getting overwhelmed. The fades were too long and they were smooth in texture. This is bad for the overwhelming piece as the fades meant the sounds were introduced and exited in a polite way. They were not overwhelming in any way.

The track hecker from Mego ‎-- MEGO 044 has such a different quality than others. This track has more of a wirey sound which is interesting as it sounds almost tangible. The sound has an almost outer space feel to it. The ending is also quite interesting as it goes into a little bit of a haywire sounding piece.

Hecker, 2003,  bsf°tyk 5, Mego, sound recording, viewed 27 September 2018

<https://www.youtube.com/watch?v=o9qngIevWa8>

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Week 8

This week saw another guest speaker, one who had a little more experience in making money using sound and sharing his experiences. This week was really beneficial as it shed a lot of light on the industry and how going forward as a sound designer or something similar would look like if we were lucky enough and worked hard enough. He spoke mainly about utilising psychology when introducing your pieces and even when crafting them in the first place. He talked a lot about putting a status on a piece and how it is all about the luxury feeling of the music (if that is who you are selling to/what you are making). Another important topic was selling products by association, if they are wanting something Hollywood like then crafting the piece using the main ingredients is necessary. It is also essential when selling yourself (people tend to buy you along with your music) to give them something that you know they will not like to ensure they hear the difference when giving them something they do like. This gives weight to the other pieces.

This article ‘music-evoked emotions in schizophrenia’ explores the relationship patients suffering with schizophrenia have with music and their ability to assess chords. Generally, a person that does not suffer any depressive disorders associate major chords with happiness, minor chords with sadness, and dissonant chords with unpleasantness. In this scientific study, there were no major differences in feelings between the depressive disorders and the correct and incorrect answers meaning that neither had a bias towards negative stimuli. This has the implications on my own study that having minor or major chords will not affect the audience with major depressive disorders.

Abe, D, Arai, M & Itokawa, M, 2017, ‘Music-Evoked emotions in Schizophrenia’, Journal of Schizophrenia Research, vol. 185, pp. 144-147.

Week 7 was incredibly busy and filled with presentations so week 8 was trying to catch up to where I was. After recording Foley for Alex’s animation, I took that away and edited them in so they sounded natural and the synchresis was accurate. I then moved onto my own project. I still was creating sounds within supercollider and trying to see what is effective.

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raw week 9 notes

https://www.noiiz.com

Loop loft

Exploring 4d cinema outside of traditional senses.

It is the violent overthrow of our multisensory history which delivers the heightened aesthetic states we regard as artistic, poetic or special.

Uncanny valley, start as a stickfigure flesh it out but when u really look at it becomes problematic

The poetic spare of sensory denial vs the potential introduction of a newly constructed uncanny valley.

Presence > immersion > indentification

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DARK MOFO 2015

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(Klaypool)

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(Bits, Nibbles & Bytes)

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(Klaypool)

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(maxiruina)

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(Lokus Standi)

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(Michelbarengo)

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(Ayla Pajevic)

WORKING PIECE

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week 8

Carl anderson

Never had a fulltime job mainly makes music for companys

Flood slicer

888 collins

Putting a status on a piece its all about the luxury feeling of the music

All about psychology

Selling products by association

Compression hollywood as possible

Give them something they dont like so they like the other one more

Gives weight to the other ones

Networking

Logic pro

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progress update

s.boot; { [Trig.ar(Dust.ar(1), 0.2) * FSinOsc.ar(60), Trig.ar(Dust.ar(1), 0.2) * FSinOsc.ar(60)] }.play

~buf = Buffer.alloc(s, Server.default.sampleRate * 0.6, 1); ( {    var in, pos, snd;    in = Impulse.ar(0);    snd = LocalIn.ar(1) * 1.0;    pos = DelTapWr.ar(~buf, snd);    snd = in + (DelTapRd.ar(~buf, pos, { rrand(0.05, 0.2) + (LFNoise2.kr(rrand(0.5, 1.5)) * 0.005) } ! 14).sum * 0.3);    snd = (snd + 0.1).tanh;    snd = LeakDC.ar(snd);    LocalOut.ar(snd);    snd = Splay.ar(DelTapRd.ar(~buf, pos, { rrand(0.05, 0.2) } ! 20)); }.play; )

play({ SinOsc.ar(XLine.kr(1,60,10),0,0.1) });

{ (LFPar.ar(60,0,1,0))!2 }.scope; s.record; s.stopRecording; //constant

{ LFPar.ar(LFPar.kr(0.081, 0, 0, 60), 0, 0.1) !2 }.play; //low high low

{ Resonz.ar(WhiteNoise.ar(0.5), XLine.kr(1000,8000,10), 0.05) }.scope(1);

{ Resonz.ar(WhiteNoise.ar(0.5), 2000, XLine.kr(1, 0.001, 8)) }.scope(1);

{ Resonz.ar(WhiteNoise.ar(0.5), 2000, XLine.kr(0.001, 1, 8)) }.scope(1);

// radio. { Saw.ar(500, 0.1) + Dust2.ar(100, 0.9) }.scope(1); { SinOsc.ar(60) + Dust2.ar(100, 0.9)}.scope;

{ WhiteNoise.ar * Decay.ar(Dust.ar(3), 0.9, 0.2) }.scope(1, zoom:4); //drum like

{ LFNoise2.ar(1000, 0.25) }.play;

{ Klang.ar(`[ {exprand(400, 2000)}.dup(16), nil, nil ], 1, 0) * 0.04 }.scope(1);

{ Ringz.ar(WhiteNoise.ar(0.005), 2000, 0.5) }.scope(1);

{ Ringz.ar(WhiteNoise.ar(0.005), XLine.kr(100,3000,10), 0.5) }.scope(1, zoom:4);

{ Klank.ar(`[[200, 671, 1153, 1723], nil, [1, 1, 1, 1]], PinkNoise.ar(0.007)) }.play;

{ Klank.ar(`[ {exprand(200, 4000)}.dup(12), nil, nil ], PinkNoise.ar(0.007)) }.scope(1);

{ Klank.ar(`[ (1..13)*200, 1/(1..13), nil ], PinkNoise.ar(0.01)) }.scope(1);

{ WhiteNoise.ar * Decay.ar(Dust.ar(3), 0.9, 0.2) }.scope(1, zoom:4);