Creative Music Technology
ELECTRONIC INSTRUMENTS Monday 30 May – Basil Jones Orchestral Hall 1) “The Deluge” by Brendan Cardiff and Angus Hall Angus and Brendan’s “The Deluge” traverses ambient and techno tangents, taking equal inspiration from both genres and synergising their unique characteristics to create a novel sonic experience for its audience. Echoes of ambient techno pioneer GAS will sound as the performance unfolds, as well as subtle nods to electroacoustic composition as modularly synthesised textures fill out the recesses of the performance’s acoustic space. Brendan’s instrument functions as a dynamic texture controller, enacting the manipulation of the performance's harmonic foundation. The tools chosen to perform this change are fairly standard: buttons and faders, for the most part, although their use is pivotal to the sequencing and dynamic development of the performance. Brendan can be heard triggering and introducing new textures to the performance’s sound-world, as well as controlling various textures’ spectral makeup through the use of filters. Angus’ instrument is designed as a performance organization device that also allows for some textural control. The device has 5 buttons, one of which is to change the preset of the other. The device also has 5 potentiometers that allow for timbral and textural manipulation. Angus can be heard triggering percussive and more harsh sounds throughout the performance, evolving these as the piece develops. The expressive use of these potentiometers in conjunction with the buttons is what allows Angus’ instrument to stand out, creating an experience like no other.
2) “Arpeggiator Tings” by Oscar Tooms & Jirra Bell Taking inspiration from progressive ambient artists such as Lane 8 & Rival consoles, Oscar & Jirra’s performance will be a relaxed array of ambient sonics with a pumping arpeggiator driving the song. With Jirra’s instrument geared towards sample triggering and controlling effects, and Oscars more towards melodic elements, they not only complement each other but drive the song forward through their interaction. Oscar’s instrument will be used to demonstrate a complex arpeggio-based synthesiser patch. It will offer control over a variety of synthesis and effects parameters, such as envelopes, filters, delays, reverbs, arp rate, and much more. Despite being based around an arpeggiator, it is capable of producing plucky melodies, heavy basslines,
ambient textures and aggressive digital effects. The instrument is implemented with a pressure and infrared sensor, and layed out in such a way that offers easy and dynamic control of multiple parameters simultaneously, encouraging a more organic and humanized performance. Jirra’s instrument will be used as a control surface/sampler controlling various cut off times, ques and triggering sequences. It was worth making because of its versatility and can be used in any type of project and is not just stuck to one type of sound because of its trigger feature. With the combination of sliders, potentiometers and buttons it allows for full customisation and control over your session whether you’re wanting to use it as a small mixer or a sample trigger, it will do it all. Some things to listen out for are the various cut-off, reverb, delay and envelopes being manipulated to create fun and interesting new atmospheres that progress the song further. It is also worth noting how sonically diverse and complex a single patch can be, and how it can be used in a live performance sense to keep the song progressing and evolving over time.
3) “Electronica” by Cameron Bryer, Liam Brown Cameron and Liam’s “Electronica” is a piece that aims to encapture a variety of moments from the electronic music scene. This includes Brian Eno and Barry Traux inspired ambient moments as well as sections that reference trap, house and techno elements. Liam’s instrument will be driving the whole piece with its pulsating, ambient tones and its inbuilt drum machine. Meanwhile, Cameron will be improvising melodies and tones over the top with his instrument. The core foundation of Liam’s instrument is granular synthesis. Two ambient soundscapes (a drone and an icy ambient piece) are blended to create a pulsing, ambient sound that forms the base of the whole piece. The granular synthesisers will be controlled using potentiometers that control where the grains will be taken from, allowing different timbres, tones, and melodies to be featured throughout the piece. This is accompanied by a drum machine that will be used in diverse ways to define genre.
4) “The Rave” Ainsley Takondwa Shiri and Michael Webb. “The Rave” was inspired by Mikey's experience in the local Brisbane rave/techno scene. We wanted to create something that was upbeat and hypnotic, taking inspiration from artists such as X-Club and Yan Cook. Mikey will be controlling numerous wavetables to
add to the progression of the track, while Ainsley will be handling all the percussion and vocal elements that are featured heavily within the track. Mikey’s instrument was inspired by instruments such as the Ableton Push and the Native instruments Maschine mk3. He wanted to create something that can play tracks and alter different macros of different instruments at the same time. The potentiometers will control different cut-off filters as well as reverbs, delays and beat repeats, while the buttons will control the On/Off different tracks and effects. Where art meets technology, the “T.A.S” named after its creator (Takondwa Ainsley Shiri) is designed to be the perfect companion to an Ableton push. The T.A.S features a variety of potentiometers and sliders of which their main goal is to control certain effects within Ableton. For example, in this performance you will me see some of them to control chorus’ and delays that are mapped to my voice. The T.A.S also features 4 big buttons at the bottom which act as a drum pad and a further 5 buttons that will be used to switch between different drum patterns for various parts of the song. And lastly, the centrepiece of this instrument is the array of lights situated on the front of the device that will be used to compliment the composition. The pure energy and atmosphere that Ainsley and Mikey will bring to the stage will be undeniable. The assessors should look out for the performers ability to shape and progress the song and the way they interact with each other and their instruments.
5) “The Solderers” by Jasper Hodgson, Jack Meimaris “The Solderers” is and played by Jasper Hodgson and Jack Meimaris and aims to showcase the variety of techniques these instruments are capable of. The unique drums and piano at the beginning of the track were created in reference to the aesthetics of Jeru the Damaja. As the track continues, the jungle drum and bass feel of Teej & Disrupta becomes a central component to the performance. Using his sampler inspired instrument, Jasper plays a central role in delivering these aesthetics. Supporting with his novel synth, Jack plays a pivotal role in melody and harmony throughout the performance. Jasper’s instrument is inspired by samplers such as the Akai MPC series. He wanted to create something with the functionality of an MPC but have it be suited to live performance as well as studio use. When used with Ableton its use can really maximised within the limited amount of buttons and potentiometers. The 9 midi note buttons can control samples, drums, and can be used as a small keyboard for melodies. A tenth button is used for sirens and vinyl scratches. With knobs and faders at one’s disposal as well this instrument can be used for beat making, midi instrument playing, dub mixing and more.
As an accordionist, Jack has always been intrigued by the idea of different mappings and systems to play music. This project has given him the chance to design his own circularly arranged button system. The initial design was simply thirds but this did not work in all instances. He then settled for a system containing mostly thirds but with a few variances. This combined with a pitch bend joystick and octave switch has resulted in a new system for playing chords or melodies. With the help of PureData, Jack has created a new way of playing music that has never been realised before. Throughout the performance, be sure to look out for the novelty of Jack’s button system as well as its versatility with additional macros. Also, keep an ear out for the wide range of uses Jasper can get out of his buttons.
6) “Aura” by Jack Bolton, Remi Raymond, James Engwirda Aura is a piece of music creating a very distinct ambient sonic atmosphere, with a clear presence of space and delay. Throughout the piece of music, distinct, arpeggiated chords are played, and are rung out to reinforce the overarching ambience of the piece. Each of our three instruments have a unique role to play within the piece – Jack is in control of sequencing, James is in control of the Harmony/Bass Drones, and Remi is in control of manipulating effects including Reverb, Delay, Frequency filter and pitch. Remi’s Instrument is primarily used as a controller of the various effects used and manipulated throughout the piece. Potentiometers are used to gradually change the effects, in combination with two sliders to add further variety. The Arcade buttons are used to trigger / toggle additionally background noise / filling to broaden the texture of the piece. Jack’s instrument acts a sequencer controller. By using potentiometers linked to knobs on the controller, it can change the filter, chorus, LFO and vibrato of sounds. A single button in the centre can switch separate effects on and off as desired for a change in sound depending on the section of the song. The specific characteristics of the sound will be a low and rhythmic, serving as an underlying element of the performance. James’ instrument is designed to control various parameters of an Ableton synthesiser of his own design. Along with control over filters, frequency and resonators he also can manipulate various ambient delay and reverb effects. By manipulating the timbre and textures of the synthesiser, ideas can evolve and develop naturally over the duration of the performance and act as a support to Jack and Remi’s instruments. This instrument can also be used for drone and melodic functions that can be found throughout our composition.