An analogue delay line, definitely not in SuperCollider (photo credit)
For the final blog post of my SoundMakers residency, I’m going to outline some of the technical details of how my SuperCollider patch for Longuement me sui tenus works. The functionality is the same for each of the four singers, with each having his or her own independent “patch” running within SuperCollider. The only difference is that the singers are panned differently across the stereo field.
I’ve provided a diagram that outlines what happens as the vocalists sing: the mic sends the signal to an input “synth,” which then passes it to the delay line and to the end limiter. The delays are created by the spawner independently of the input source, and they pass their signal to the limiter, where it is combined with the original and outputted to the speakers. (more…)
Once I settled on the “prepared voice” concept for my SoundMakers commission, I had to figure out how to make it a musical reality. I had tested a few simple delay lines, but they weren’t great: I was either getting mechanical-sounding echoes or washy reverb. I needed something that blended more completely with the acoustic component of the voice.
To be able to fine tune my delay patch however, I first needed some kind of vocal synth. After all it would be hard to figure out if I was going in the right direction if I didn’t have a voice-like sound to plug into it. I could tune the patch to a certain extent using my own singing voice, but that wasn’t going to tell me if the patch works in a polyphonic setting—I needed either four singers at my beck and call, or a synthesizer patch with the appropriate acoustic characteristics. (more…)
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- Upcoming Concert: Halo Ballet Première – 24 Oct 2010 – Toronto
- Upcoming Concert: Hockey Story – 20 Jan 2011 – San Diego
- Oksana G. Opera Development Workshop
- Results of Experiment: Can I Avoid Choosing the Music I Listen to?
- Help Me Help You: Collaborative Audience Building