Commissioned and titled by sevenhelz in honour of Deathboy.
This piece is influenced by the Vaporwave genre and movement and was written in SuperCollider. The melody is based on a markov chain of common melodic gestures. The instrument is based on the ‘Epic Sax’ code by Rukano. The bassline is adapted from the help file on Patterns. The plucking instrument’s durations is quarter divisions of random durations used by the melody, which is what gives it it’s slightly odd character.
Commissioned and titled by sevenhelz in honour of Deathboy.
This piece was written in SuperCollider. All of the sounds are generated using the Gendyn4 UGen, which is based on descriptions of stochastic synthesis published by Iannis Xenakis in Formalised Music. This means that the timbre is generated by probabilities. The ‘pitches’ and sound controls are also controlled by random numbers, repeated in a structured pattern.
The sounds change to become more resonant over the course of the piece. The addition of reverb is what primarily gives the piece its character.
This piece was commissioned by lesbiancockslut.com [NSFW]
When commissioned, I appealed on twitter for people to send me dick pics. Specifically, encrypted dick picks, to highlight that various national governments are spying on our sexts. In return, I was sent two unecrpyted images and one encrypted one. The unlocked images were of a tin of spotted dick, and a rooster (known to the English as a ‘cock’). The encrypted image was of the sender’s ‘friend, Richard.’
I took these files and played them as if they were wav files. Compressed and encrypted files sound like white noise, so I took the two unencrypted images and converted them to raw image formats. I then converted those to raw audio and used them as samples.
The pitches and rhythms in the piece are taken from a hymn that was popular in American Catholic churches when I was a child.
I’ve recently learned about this genre, which was invented by teenagers doing deconstructive remixes of 80’s and early 90’s commercial culture ephemera. They take audio and video samples of brick and mortar consumer culture and cultural nostalgia to create criticism of pre-online capitalism, as far as I understand it.
I stumbled onto this genre shortly after finishing my Christmas album and realised that that it was very close to what I was already doing. I also had the much more disconcerting twin realisation that early 90’s muzak was a formative musical influence, due to how much I was subject to it during an impressionable age.
For this study, I took the advert for the Cupertino Inn and cut out all of the (extremely awkward) narration and was left only with the very muzak-y background. Because my editing was abrupt cuts, which did not adjust for beat matching, I decided to use granular-style techniques for cutting the audio, but with extremely oversized ‘grains’. I put this over a looped, half speed playback of the cut audio.
For the video, I used ffmpeg to spit out 12 frames a second as jpegs. I then used a python script to glitch every frame and reassembled the video. I editted them together in openshot, which, due to my inexperience, played the video at 12.5 fps, so I looped the closing image.
I picked this advert because I have a relationship with this hotel and because I thought it was extremely odd that they made an advert in 2010 that so completely and unintentionally embraced 80’s nostalgia and human misery. The Cupertino Inn is under new management in the last two years and has updated it’s vibe and furnishings. It is now a nice hotel. You should stay there, not only because I have a financial interest in you doing so.
If you enjoyed this piece of music, please consider donating to the Hackney Night Shelter. This shelter takes no government funding and thus is able to provide shelter to people ineligible for government benefits, including refugees and asylum seekers who do not have the correct status to receive taxpayer funded aid. It is one of few secular organisations in this funding situation. This is especially helpful for asylum seekers that feel uncomfortable with religious organisation (especially those fleeing religiously-motivated violence, such as members of minority religions or LGBT people).
My friend Dan, who volunteers with the Night Shelter suggested last night that I do a version of Auld Lang Syne. Our attempts to sing it at a party were, as always, somewhat shambolic. For this version, I thought of the puns before I started working on the music, but this is an attempt to create the idea of drunken, sentimental sine waves toasting the new year.
Each voice is three sine waves, all up to an 8th tone out of tune, which have some portamento from one note to the next. The target pitch in the slide gets closer to the correct pitch as each note goes on. The highest sine wave pauses between notes, but the lower ones carry on. The piece starts with some short bursts of Markov chains as the voices try to agree on the notes and where they are in the song. Eventually, they go through the whole song, each varying tempo as they go, falling behind or catching up with the others. Finally, they all end together.
This track is part of a larger project, ’12 days of Crimbo’, which solicits funds for homeless and/or LGBT charities.
If you enjoyed this piece of music, please consider donating to Mermaids. Mermaids is an organisation that provides support to trans children and their families.
The sound generation is based on a synthdef by Rukano (which is based on a meme, which is based on Eurovision). I modified sound to use slightly different envelopes for every partial, to sharpen the attack and to have the sound gradually decrease in amplitude over time. From the sound, I generated a dissonance curve and from that, generated a 12-tone just scale.
For the melody, I generated Markov chains from a MIDI version of We Three Kings. I slowed the result down, added legato and mapped it to my derived scale. The overlapping tails of notes ends up obscuring the brass sound and makes it sound more like a pipe organ or bells.
This track is part of a larger project, ’12 days of Crimbo’, which will raise funds for homeless and/or LGBT charities.
A couple of days ago, my wife made me aware of the second and third verses of ‘We Wish you a Merry Christmas’, in which the singers demand ‘So bring us a figgy pudding and bring it out here.’ Followed by ‘We won’t go until we’ve got some, so bring it out here!’
This was my favorite carol when I was very young, as there seemed to be no constraints on how loudly we were allowed to shout/sing. With the lyrics in mind, it’s clear this is because it’s a song about mob rule and the medieval version of Christmas, where many social rules were temporarily suspended.
The sound is Karplus Strong and the melody is a slightly mis-typed version of We Wish you a Merry Christmas, looping, gradually increasing in length and then variations.
This track is part of a larger project, ’12 days of Crimbo’, which will raise funds for homeless and/or LGBT charities.
For this piece, I used Risset bells with a long decay. I used a Dissonance-curve style analysis of the partials to generate a tuning based on the timbre. Rather than use the method outlined by Bill Sethares, I compared the partials to look for good just tuning ratios. I then picked the 8 most in-tune partials (using a moving window system, so make sure they weren’t all next to each other). This is part of my TuningLib quark, which is available to SuperCollider users. (See the justScale method for DissonanceCurve)
Then I used an mp3 of the Bell Carol, but very slowly. I also adjusted the tuning of every partial by up to 10Hz and delayed all attacks by up to 60 milliseconds. This creates weird beating effects, as two identical bells are just slightly out of tune with each other. Their attacks are also often just a bit too far apart to be simultaneous.
I have ambitions to generalise harmony in terms of dissonance, so that it’s applicable to bespoke tuning systems, but ended up not applying that to this piece. This track is part of a larger project, ’12 days of Crimbo’, which will raise funds for homeless and/or LGBT charities.
If you like this piece, please consider donating to Shelter, a charity that deals with homelessness in the UK.
In 2004, back when I was doing my MA, I had just devised algorithms for automated cutting for Text Sound Poetry. I was mostly using these on political pundits, but when the holidays came around, I thought I could have my mac’s internal voice read some hymn lyrics and then do some cutting. The computer brightly proclaimed, ‘I love you, Lord Jesus!’ and I felt giddy with horror.
My partner at the time listened to it and said it was too cynical. So it sad on a hard drive for these last 11 years. It probably is too cynical for Christmas, but it’s not altogether out of place for this project.
This track is part of a larger project, ’12 days of Crimbo’, which will raise funds for homeless and/or LGBT charities.
If you enjoyed this track (or not), please consider donating to the LGBT Foundation. I first became aware of this foundation because they are fighting laws which criminalize relationships. In the UK, it is legal to lie about one’s marital status, age, religion or whether one has had an STI test, yet several young trans men have become convicted sex offenders for not volunteering the information that they transitioned. The foundation is working on challenging these laws. (Dear listener: if you want to avoid dating a trans (or cis) person, just ask them ahead of time.)
This badly mangled version of Adeste Fideles uses the sleigh bells and Risset bells I’ve been using throughout the project. It also uses a snare synth and bass drum synth of my own devising, Schemawound’s dirty fm synth and grirgz’s wobble bass synth.
Although I think this is probably the worst piece of music I’ve ever made, my wife said it sounded like an 8 bit video game, so I titled it Angel Invaders. Can you shoot them down before its too late?
This track is part of a larger project, ’12 days of Crimbo’, which will raise funds for homeless and/or LGBT charities.
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Shorts #39: Something Happy (2016)
