I was very happy to attend and present at this year’s WebAudio Conference. The NTNU did an incredible job hosting and organizing the event and there was a great variety of research presented. I was noting to myself throughout the conference how it seems to get better each year for both the software and technology shown and the musical performances performed. I think it’s a sign of the level of maturity of the browser platform as a whole that it can support high-level musical work today.
For those who might be interested, all of the sessions were recorded and streamed online. Archives are available here.
For my own work, I presented on the Csound-WebIDE here:
(Note: I misspoke about Chowning’s work and said “parallel carrier, single modulator” when I should have said “parallel modulator, single carrier”.)
I also participated in the jam session by live coding with Csound here:
Great to see old friends and meet new ones. I hope to make it to next year’s conference in Barcelona!
Experiments with complex ring modulation and low-frequency modulations for sound design. Each ring modulation generates sidebands for the previous signal and with four ring modulations up to 16 frequencies could be generated. Modulating with ring modulation leads to interesting, synthetic sounds due to the ratios of frequencies changing over time. Having multiple orders of ring modulations allowed for interesting patterns of spectrums to develop (see spectrogram).
This example has two instruments, RM1 and RM2. RM1 uses exponential envelopes to start and end at harmonic ratios but has different rates of change due to different starting ratios. (Mentioned here as ratios since the outputs are being used to multiply the p4 base frequency.) RM2 is a variation on RM1 and uses a sawtooth LFO for one of the modulations. Both use a high-pass filter to remove frequencies generated below the base frequency.
The score plays a pattern with RM1 twice, once with 0.5 durations and again with 0.25 durations. This sounded to me like they could be used as a simple laser sound in a game or as a component of more complex laser sound design. The score then has a 20 second long note for RM2 that gives it enough time to hear the evolving frequency patterns.
Complex FM (4 operator, what Chowning and Bristow calls Parallel Carrier, Independent Modulator in “FM Theory and Applications”). The two operator stacks are using 4:2 and 1:1 C:M ratios. expseg envelopes are used to modulate the overall shape of indices and unipolar square lfo’s are used for an additional layer of modulation. I thought the 12 and 3 Hertz for the lfo’s gave some nice texture between the two layers.
I think it probably works best in the low end to middle of the frequency range. The result using pch of 5.00 reminded me of things heard in some progressive house tracks.
Working with Hydra this past week has been quite a joy. This visual has been one of my favorites so far, a slowly evolving pattern that grows and grows in richness and complexity. So alive and so beautiful.
I’ve been practicing visuals with Olivia Jack‘s wonderful system Hydra the past couple of days and I have been enjoying it very, very much. It’s been a blast to have a higher-level abstraction layer to work with over coding GLSL shaders directly. I suppose a big factor in my joy is that I tend to spend a lot more time with JS than I do GLSL too. 😉
I think knowing some shader programming and practices certainly made learning Hydra a lot quicker than it would have been otherwise. Still, lots to learn and practice. 🙂
A quiet meditation developed using four processes made up of bit-shifting and bit-masking operations. The rules, or “laws”, of each process are not complex on their own but together create an intricate texture and rhythm.