Physical Music - Hypothetical 3D Modelling Synthesizer and Printer.
A 3D modelling tool that builds virtual solid models whilst sculpting sounds. Merging the controls of a dual oscillator Synthesizer with the tools of a CAD package in one physical interface to explore a theoretical link between sound composition and solid form.
Oscillators are matched to X & Y coordinates in CAD using the usual Sine, Saw and Square waveforms employing envelopes and LFO settings to fine tune forms. Noise equates to texture, Resonance transfers directly to the resonant frequency of the material. Mixing and Portamento sets the blending level of the wave forms resultant shape.
The keys set the colour palette such as suggested by Aleksandr Scriabin and shown along the base of the screen. Polyphony creates the colour mix which can be altered via filters controlling Cutoff / Hue, Saturation, Brightness. Key velocity and volume adjust the transparency.
The Synth outputs to a 3D printer based around laser sintering processes. The theoretical printer uses clear and opaque resin based compounds mixed with metal, wood or polymer additives to achieve variable resonances.
Physical Music - Hypothetical 3D modelling synth.
A 3D modelling tool that builds virtual solid models whilst sculpting sounds. Mapping the controls of a dual oscillator Synthesizer to the tools of a CAD package to theoretically find a link between sound composition and solid form.
Physical Music - Re-imagining Kandinsky ( Composition 8 ). Exploring the forms developed from elements of Kandinsky’s painting to see if they might still represent musical composition in 3D. Does the imagined musical score alter with different viewpoints ?
Physical Music - Food for Thought - Cooking with sounds
from the original settings manual for the Korg MS-20
"You can divide synthesiser modules into three groups:
1. The EG-1, EG-2, MG. and control wheel. These “manipulators” can be thought of as being like the different sections of a supermarket since they supply the raw materials.
2. The S/H, modulation VCA, and ESP. These “convertors” are like a kitchen. Here the raw materials are chopped and cooked. Of course the kitchen can be bypassed and the materials eaten raw.
3. The VCO, VCF and VCA. These are the mouths that eat the food. If the raw materials and cooking suit these palates, you get the effect you wanted. In other words, these modules are what they eat. “
Physical Music - Continuing my quest to find crossover points between music composition and Industrial design methods I was struck by the similarity of the parametric building blocks of Rhino and Grasshopper ( above - to build a sine wave in 3D ) with the parameters and paths required to build a complex sound in Reaktor and other similar patched Synthesizers.
Physical Music - Noise pollution or a missed opportunity?
Throughout history musicians have benefitted from new developments in material knowledge to create richer, more resonant, more harmonious, more tuneful sounds. Shouldn’t we be doing the same?
Physical Music - Resonance - Blue in Green. ( Imagining Miles Davis and Bill Evans ).
Exploring a visual language to reflect the resonances, accidental and intended, within the piano.