I experimented with beechwood surfaces as well as with granulated beechwood for the final work. This first one is based on exploring the granular sounds of beechwood i used an external contact mic connected via MI ears, which was then sending cv to MI beads “seed” control so that a grain would be generated everytime a textural contact from the wood surface was made stroking and scrubbing the surface would thus generate multiples grains of different sizes/densities. the granular sound cubes next to the visual material cubes is a way to attempt to present pure granular sound as an additional material element. Plexiglass cube speakers outputting the granular sound are then placed next to clear plexiglass cubes which visualize granular concepts such buffer size, grain size, and grain density of the chosen material. Sound Particles has released Density, a new audio effect plugin that creates various layers of sounds based on the input:A voice turns into a choir, a violin. Recording devices capture sound waves from the air and convert them into electrical. For instance the sound of glass breaking would then be processed with granular synthesis to explore the granular sounds hidden within those original material sounds. Sound is stored for playback through the process of sound recording. It is a sound installation series where i take materials (glass/wood/metal etc) and explore the sounds they make when they are granularized physically and sonically using granular synthesis. Ok so now my question is for you is this: do norns scripts exist which do not rely on recordings building on GrainBuf and GrainIn, but would allow exploration of these more fundamental, synthetic techniques? I can cannot think of any, but I ignore grid-based scripts since I don’t have one. Heads move in 5 directions for a comfortable shave. I’ve had great fun with SuperCollider since. Philips Norelco Shaver series 5000 Wet and dry electric shaver. not GrainsIn) and GrainFM even exist in SuperCollider… and how audio input either from live or recordings into a granulator then makes sense as an extension of these fundamental, basic microsound techniques. So it started to make sense to me how and why on earth GrainSin (n.b. In that work it is not a given that there is an incoming audio signal from which to source grains that is an extension of the more basic and more general techniques. I then read first Roads’ Sound Composition with Pulsars (2001, Journal of Audio Engineering Society) and second Microsound (2001, MIT Press) and realized I had misunderstood. For a long time I was under the (maybe widespread?) impression that granular synthesis is used on top of incoming audio signal to weird it up… you know, an effect.
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