Brian H.

A demonstration of how a virtual directional pattern can be created and controlled by the combination of 2 different mics...Or, how to roll-your-own polar patterns.  I wrote an article on this for Electronic Musician magazine.Select the type of audio source to use– Live mic inputs or an interleaved-stereo wave file.  In either case, the omni (pressure) element should be in the L channel and the fig8 (gradient) element in the R channel.Because you probably don't have one of these files lying around, one is included to demonstrate– A flute/piano duet, recorded on opposite ends of a room with the mic array in the middle (see the picture). The link downloads a 23 MB Zip file containing the Max patch as an application (Mac OS only), short audio file, and photo of the setup used for the audio file.  If you take it for a spin, please leave a comment.

polar-pattern-creator

Polar Pattern Creator

owen lloyd

Building Materials is an installed composition, made in direct response to the architecture and use of Exeter Phoenix arts centre.Sensors spread throughout the building carry raw data back to a listening room to form a self generating audio composition, created in software designed by myself in Max/Msp. I am interested in allowing what goes on in particular architectural spaces to dictate the structure of the composition, be it through human activity, light levels, air flow or its functional, operating life.Sounds and data wind their way through the building and are expressed visually through coloured tape carrying wires along walls, floors and ceilings, reminiscent of the iconic London Underground map. This network is there to be explored, followed through the building, drawing attention to what often seem like very ordinary activities: the shutting of a door, the squeak of a floorboard, the whir of the air conditioning. I want the work to be underpinned by  such narratives, I like how working like this fills a piece of music with snippets of unforeseen stories through the opening of a window, the joining of a dance class, or meetings in a café.  These insignificant happenings are re-presented in the final composition, transformed, altered or rearranged, leaving only fragments of traceable sound.At once site specific and portable to other situations, Building Materials cedes much of the artist’s own authorial control. In any other building and at any other time audiences would experience a completely different work because its form is sensitive to, indeed largely determined by, its environment.

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