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- MULTI-POINT GENERATION SOUND INSTALLATION
The Multi-Point Sound Generation technique is a unique way of sound reproduction which is developed for sound installations. M.Pazhutan and H. Haq's Open-Form No.1 which took place in Tehran Aun Gallery of Arts is based on this technique. Read the article to find out more on the unique method of sound installation developed in Atelier of Electronic Audio Arts.

- VIRSYN CUBE
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Sound Synthesis And Unique Morphing Techniques


- FM SYNTHESIS
by Mohammad Pazhutan
A Deeper Look Into Frequency Modulation Sound Synthesis and FM Electrophones From Yamaha DX7 to Native Instruments FM8


- HAMMOND ORGAN AND ORGAN EMULATION SOFTWARE
By Mohammad Pazhutan
Study Of Additive Synthesis On Hammond, Farfisa and Vox Organs. Introduction To Organ Emulation Software Such As Native Instruments B4.


- MIX
Part 1
By Mohammad Pazhutan
Understanding The Mixing Process.
How To Mix Drum Parts.
Using EQ and Dynamics Effects.


- MIX
Part 2
By Mohammad Pazhutan
Understanding Warm Tones, Bright Tones, Edgy Tones and Dark Tones.
How to Mix Bass Parts.
How To Mix Guitar Parts.



- MIX
Part 3
By Mohammad Pazhutan
Mixing Vocals.
Introduction To Signal Chain.
Introduction To Time Domain Process.
Gain Riding.
Introduction To Spectral Approach To Mix.
Introduction To Mixer Use In Noise Art.


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- CREATIVITY MOTIVATION IN ELECTRONIC MUSIC TEACHING
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An Analytical Article On Teaching The Art Of Electronic Music Regarding The Works Of Edgard Varese, John Cage, Karlheinz Stockhausen, Gordon Mumma, David Tudor. The Influence Of Peter Eisenman, Marcel Duchamp and Merce Cunningham.


- THE ART OF MASTERING
Part 1
By Mohammad Pazhutan
The Mastering Process. Computer Mastering. Using EQ in Mastering Process.


- DIGITAL AUDIO WORKSTATIONS (DAWS)
A Research On The Commercial DAWs Including Digidesin ProTools, Apple Logic, MOTU Digital Performer, Steinberg Cubase And Nuendo, Cakewalk Sonar.

- THE ART OF MASTERING
Part 2
By Mohammad Pazhutan
Fletcher-Munson Curves. Pre EQ and Post EQ Compressor Techniques. Mix Compression. Saturation.


- FUNDAMENTAL TECHNIQUES OF ELECTRONIC MUSIC
By Honey Haq
Article Reviews The Techniques Of Electronic Music From Early Years Of Columbia–Princeton Electronic Music Center (1959)


- THE ART OF MASTERING
Part 3
By Mohammad Pazhutan
Limiting. Bounce. Dithering.
Mastering For Web and iTunes.


- NEW MEDIA AND AUDIO/VIDEO PERCEPTION
By Honey Haq
Article In Form Of Questions About New Medai Technology And Teaching Issues


- INTRODUCTION TO MAX MSP
By Mohammad Pazhutan
What Is Max MSP and Who Uses It?
Object Orientation. Dynamically Linked Libraries.


 
MULTI-POINT GENERATION SOUND INSTALLATION

THE SCOPE OF MULTI-POINT SOUND GENERATION

The technique is based on the playback of sound through several speakers (at least 4) and is different from usual multi speaker methods such as "Dolby Surround" and "Quadrophony".
The sound loop is never used in Multi-Point sound art, and the sound is the determinant factor of the art work. Sound develops in the same way as in a musical composition. The public can decide to experience the Multi-Point for just a few minutes or for a longer period of time. The artist constructs a sound sculpture that works in both of the cases. The sound has both periodic and antiperiodic functions.
As an expansion, when combined with another form of installation art such as video installation Multi-Point can include the time element to the mentioned work. Multi-Point can use interactive art technology such as sensors and computers or only sound sources (loudspeakers) placed in different space points, or music instruments like synthesizers that are played by a performer (or even by the public).
The sound sculpture sound is a composition manipulated in such a way as to create a sculptural as opposed to temporal form. The sound is energy and can change the surroundings physically. The transmitting medium in a simple sound installation is air. Public can experience each loudspeaker alone in one point, or the additive synthesized character of the whole sound by changing places in the installation space. The Multi-Point technique varies dramatically when the installation is in an open space.
The system is based on three matters, or devices: The additive sound synthesis, the moving sound-sculpture, and the synchronicity. The coordination of simultaneous lines completes a structure which helps the listener experience the sound in a totally unique way.

SOUND DESIGNING WITH SPEAKERS

Reflexive, symmetric and transitive sound design can happen with installation of several loudspeakers each driven by a different amplifier. The sound shall be sent to these amplifiers using a multi output audio interface from a digital audio workstation.
In Reflexive technique, a sound signal is sent at time t1 from speaker n to the space and speaker n' immediately follows the first sound. Just like a mirror, the reflexive technique creates reflection symmetry. A musical object happens in different places of a given space.
Based on Euclidean geometry, a translation is moving every point a constant distance in a specified direction. So the public experience the moving of a sound or musical object in a specific space.

SYMMETRY

The Symmetric technique is the most complicated technique since it is consisted of Reflection symmetry, Rotational symmetry (i.e. symmetry with respect to some or all rotations in m-dimensional Euclidean space), Translational symmetry , Glide plane symmetry (because the sound is 3D, a reflection in a plane combined with a translation along the plane, results in the same object) , Rotoreflection symmetry (rotation about an axis, which needs more than 4 loudspeakers), Helical symmetry (At any one point in time, two motions combine to give a coiling angle that helps define the properties of the tracing. When the tracing object rotates quickly and translates slowly, the coiling angle will be close to 0�°. Conversely, if the rotation is slow and the translation is speedy, the coiling angle will approach 90�°), Fractals (fractals are a mathematical concept in which the structure of a complex form looks exactly the same no matter what degree of magnification is used to examine it). Moreover the composition of the sound scene also can use symmetry as a compositional device, as Bach used the symmetry concepts of permutation and invariance, and Bela Bartok used axes of symmetry and/or interval cycles in an analogous way to keys or non-tonal tonal centers.
The transitive technique is achieved by "slowly" transporting a sound from speaker 1 to speaker 2, in the limit of vanishing transport velocity.

SYNCHRONISM AND SYNCHROMISM

First synchromist painters get their idea of synchromy from music, but in Multi-point the composer uses the additive synthesis to make synchromies with sounds. Synchromism is based on the similarity of color and sound phenomena. The synchromies in their essence are abstract and are based on color scales, using rhythmic color forms with advancing and reducing hues. They typically have a central vortex and explode in complex harmonies. Synchronized overtones which are played back through different loudspeakers can compose multiple harmonics at different frequencies and amplitudes that change over time. Having control over the frequency and amplitude of each harmonic lets the performers change the overall character of the sound. Each harmonic generator has its own customized volume control. The result is not simply a type of music but a dynamic sound that changes over time.
A complex tone is a combination of many simple partials, each with its own frequency of vibration, amplitude, and phase. Human ear tends to group harmonically-related frequency components into a single sensation and mind perceives them together.

STEREO

The Multi-Point sound scenes can be mixed to stereo format in order to play back on regular CD players or other music playback systems. But the true experience of Multi-Point will be lost through this process, and even 5.1 and 7.1 surround systems cannot reproduce Multi-point exactly as it must be.


- An Example:
OPEN-FORM (Installation and Performance) in Aun Gallery
Number of speakers: 6 (2 Monitor Audio Speakers, 4 Martin Speakers)
Number of Amps: 6 Vincent Mono Amps
Digital Audio Workstation: Ableton Live
Electrophones: Nintendo DSi Electrplankton, MicroKorg, Arturia Analog Factory, Korg MS20, Spectrasonics Omnisphere, Roland VR-760
Audio Interfaces: Digidesign MBox2Pro (Studio), MOTU Ultralite MkI (Gallery)

150 minutes of open form sound installation for Aun Gallery's unique tunnel like space with a high amount of sound reverberation, the sound structure first written and composed in 36 lines, then using digital techniques merged to 6 different sounding layers. The speakers were installed at the top shooting the sound to the curves.
Because each space has its own acoustic characters, it must be noted that each Multi-Point installation must be designed conforming to the specific space.

Please visit http://www.aungallery.com/exhibitions/works/saba_the_wind


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