Tag: music

New Auction / the Future of Music

Since my first two auctions are done tomorrow, I just put up number 3. I’m trying to figure out how to stagger them. It’s a new and different phenomenon for me to think a week ahead. I don’t know how to add a “buy it now” button. I suspect it costs extra. Using eBay actually adds a fair bit of overhead in cost and time. Also, it adds some overhead for the commissioner in that they need an account and then they wait. I’m weighing my options in whether I should move to a shopping cart model instead. Given the low cost, I think this time overhead is probably a large disincentive. It seems like a $14 commission is an impulse buy for most. Also, I’m unlikely to gather a biding war or anything.

The future of music, of course, is not a one-size-fits all model. Other options include things like the Buddha Machine (Is there really a little Buddha inside? I should take mine apart.) The music is inherently in an object, thus making it something other than being (only) data. The Women Take Back the Noise compilation is also, similarly, the music of the future. The packaging includes a little crackle box, in the shape of a flower. The music inside is Creative Commons licensed. The goal of the project is greater exposure for the artists participating, and I think their design achieves that goal well. the crackle box makes the object itself something tangible to buy. However, the data on the disks is still shareable. This gets the widest distribution possible, since people who want something they can hold get such a thing, and they also get something they can share. The more people have the disks, the wider the likely sharing of the data encoded on them. Very smart.
It’s also taking a subversive look at femininity. The packaging is all bright colors and there are flowers on the CD, but the contents is noise. This subversiveness both challenges and reinforces a gender binary in that it defies expectations by containing noise, but supports the binary by encoding the gender of it’s participants with flowers. I think it’s really great and I wish the participants the very best of luck. I’m also really glad I’m not on it, because of the flowers. Traditional, even if subversive, symbols of femininity make me very very nervous. There’s a group of women in the San Francisco Bay Area who don Betty Page wigs and wedding dresses for all their gigs. Some of these women are really punk rock. It’s a really smart way to make comments on the expectation of gender. But for myself, I can’t embrace it even ironically. There is absolutely no way I could stand in front of people in long hair with a dress. That’s my own issue. But I often feel kind of left out. I don’t get any sort of male privilege as far as I know, but I feel really uncomfortable participating in actions designed to raise the status of women as anything other than a consumer or spectator. A group called Fresh Meat has just issued a Call For Work by gender variant artists. I hope they want sound installations too.
In other news, the little woman in off in California chopping down trees (it’s like anti-arbor day there) and I lost my cell phone, so theoretically I should be getting lots of things done, like my new Michael Savage piece and my super nifty code for HID and wii in SuperCollider, but um, yeah.

Ebay!

The Gift Economy and Sustainable Music

Daniel Wolf of Renewable Music reported that I was the first person trying to market commissions as e-commerce. There may be some disagreement on that, but I’m pretty sure that I’m the first person who has tried to market a commission on ebay. (Auction 1, Auction 2)

There are a few reasons you should care about this. One is that you might be the first person (or in the first group of 30, since that’s how many I’m putting up in this project) to commission a piece of music via ebay. The other is that this is a proof of concept for the viability of music in the internet age.
What is music but data? Data wants to be free. People love to share. On the one hand, we have the RIAA fighting the future (and the present) by suing all their customers. That business model is not sustainable and has numerous other problems. On the other hand, we have the sharers – people who love music and post their favorite pieces on the internet, via a website or p2p or whatever. And in the middle we have artists – me and others like me. The RIAA hasn’t done much for me lately, but neither has p2p, really. When musicians ask me how they’re supposed to cover the costs of recording if their music gets traded for free online, all I can say is what the blogosphere has been saying. Fans will buy merch. Fans will paypal you donations, like a tip jar. The fans will come through, somehow. But how, really? Merch is a logo on a piece of material. A logo is data. The logos, like the tunes they stand for, want to be free. So all we really have is the virtual tip jar.
Some of us do give virtual tips, but most don’t. Freeing mp3s to your fans isn’t like busking. There’s no eye contact. There’s no presence. This model is not sustainable, either. How many of us actually go and paypal every artist who we’ve downloaded and like? And what do the fans get in return? A moral satisfaction, sure, but not enough to make the model work. In practice, the fans get very little for their efforts.
Artists are left with the problem of how to distribute their music such that it makes it to their fans and they cover their costs and can live. Moreover, the manner of distribution and monetary compensation should capture the zeitgeist of sharing and direct involvement. The fans must get something tangible in return, in a time when tangibility itself is becoming slippery.
I think commissioning is the answer to this dilemma. The commission amount covers costs. The fans get something real in return – their name attached to the work – a credit as an integral part of the creation. Because as the RIAA knows and fears, the fans have been integral all along. This is one answer to the question of how smaller artists can thrive in a direct-to-consumer, sharing sort of environment. The gift economy! The commissioner gives money to the artist who gives music to hir fans. Like other gift economies, the value of the gifts grow as it spreads to more and more people. Instead of fighting the internet economies of data, this model requires it.
I think Ebay is a natural fit for this project. The auction aspect means that minimal costs are covered and the value of the fan’s gift is in proportion to the value in which other fans hold it. In any case, some sort of discrete transaction method is required. A popular artist could get more commissions than s/he could hope to fill otherwise.
If somebody gets this concept to work in practice, then we have the new model. So here’s my trial seeking a proof of concept. Music can be free and artists and fans can cooperate and thrive without leech-like corporations persecuting both.

Edit

See http://www.berkeleynoise.com/celesteh/podcast/?page_id=60 for more information

Subliminals, Timbre and Convolution

Recently, in Boing Boing, there was a post about a company marketing a subliminal message to gamers. They would hear the message 10000 – 20000 times a second. That’s 10 kHz – 20 kHz. Those repetitions are almost too high to be in the audio range! I can’t hear 20 kHz all that well. Also, what about scaling? To keep from peaking, the maximum amplitude of
each message would have to be between 0.00005 – 0.0001 of the total amplitude range. That’s pretty subliminal, all right.

I went to work trying to play a short aiff file over and over at that rate. My processor crapped out really fast. That’s a lot of addition. As I was falling asleep that night, I calculated that on a CD, each new message would start every 4 – 10 bytes! Why at that rate, it’s practically convolution.
Indeed, it is more than “practically” convolution, it is convolution and as such it doesn’t need to be done via real-time additions, but can be done via free software like SoundHack. The first step is getting a series of impulses. To try to create a “subliminal” message, you need a series of positive impulses that vary randomly between 10000 – 20000 times per second. I wrote a short SuperCollider program to produce such impulses.

SynthDef("subliminal-impulse", {arg out = 0;

 var white, ir;
 white = WhiteNoise.kr;
 white = white.abs;
 white = white * 10000;
 white = white + 10000;
 ir = Dust.ar(white);
 Out.ar(out, ir);
 
}).play

The WhiteNoise.kr produces random values between -1 and 1. We take the absolute value of that to just get numbers between 0 – 1. Then we multiply, to make them numbers between 0 – 10000 and add to put them in the range 10k – 20k.
Dust makes impulses at random intervals. The impulses are between 0 – 1. The argument is the average number of impulses per second. So Dust makes 10k – 20k impulses per second. Record the output of that to disk and you’ve got some noise, but it’s noise with some important characteristics – all the impulses are positive and they have zeros between them. This is what we need if we’re going to be subliminal at gamers.
Ok, so I’m going to take that file and open it SoundHack and save a copy of it as a 16bit file, rather and a 32 bit file. Then I’ll split the copy into separate mono files. (This is all under the file menu.) then, to save disk space, I’ll throw away the 32 bit file and the silent right channel. So now I have a 16bit mono file full of impulses open in SoundHack
Under the Hack menu, there’s an option called “Convolution.” Pick that. Check the box that says “Normalize” (that will handle the amplitude for you so the result is neither too quiet or too loud) and then hit the button that says “Pick Impulse.” This will be our recording of spoken text that we want made subliminal. (Fortunately, I had such a message at hand.) In actuality, it doesn’t matter which file is the one with the clicks and which is the one with the text. Convolution treats both files as equal partners. Then it asks us to name the output file. Then it goes, then we’re done. Here’s my result.
If you suddenly feel like forming a militia or running in fear, then it worked. If not, well, the sonic result is still kind of interesting. The timbres are all totally present but the actual sound events are unintelligible (at least to the conscious mind). For every one of our little impulses created by Dust.ar, we’ve got a new copy of Jessica plotting revolution. (The text is actually from Lesbian Philosophy: Explorations by Jeffner Allen (Palo Alto: Institute of Lesbian Studies, 1987) and the piece I originally made with it is here.)
This is actually a lot like granular synthesis, if you think about it. Imagine that instead of convolving the whole audio file, we just did 50ms bits of it. Every impulse would start a new copy of the 50 ms grain, but instead of with additions, with FFTs, which are faster – we can have many, many more grains. And they could be smaller and still be meaningful. Heck, they could be the size of the FFT window.
The FFT version of a convolution involves taking a window of the impulse and another of the IR (our subliminal message – normally known as an impulse response). You add the phases together and multiply the amplitudes. The amplitudes multiplications give us the right pitch and the phase addition gives us the right timing – almost. Some additions will be too big for the window and wrap around to the beginning. You can avoid that by adding zero padding. You double the size of the window, but only put input in the first half. Then none of your phases will wrap around.
We can get some very granular like processes, but with nicer sound and better efficiency. For example, time stretching. We could only update the IR half as often as the impulse stream and do window-by window convolutions. There are other applications here. I need to spend time thinking of what to do with this. Aside from sublimating revolution.

PlayPlay

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Jobs I want

I want to be that guy. OMG, it would be so awesome to work for the BBC on Dr Who music. That video is so awesome. Also, check out his kewl old keyboards. That Arp Odyssey is sweet! He says the BBC never throws anything away, so those are all lurking around there someplace.
The new series does not have incidental music that is as killer as the original series, alas. This is why they need me.
Also, they point out that the teme song is about a minute long. The guy spent 5 weeks on it and used like 16 tracks or more. I spend like an hour for a one minute piece and use around 4 tracks. I feel like such a slacker in comparison.
I think I’ll add some complexity to the three pieces in my queue now.

On the radio in 5.6 hours

Hello, I will be live on the radio tonight at midnight in The Hague. That’s 16:00 for Californians and I don’t know about other time zones, as something very odd is going on with daylight savings or something in the US. There is a live stream on the web and information about archives also here.

I will be playing some laptop and probably some tape pieces including one not yet posted to my podcast and one that is not done yet, but will be by then.
In other news, I’ve got 3 commissions so far and have been mentioned in a few blogs (w00t), so in good capitalist style, I’m going to raise my rates – on Friday. If you want the lower price, act fast. A commissioned minute of noise can make a thoughtful birthday gift, commemorate a special occasion or just show off your impeccably good taste. And it might lead to international fame of some kind – the folks so far will get their names mentioned on 90.2 FM Den Haag in a few hours.

Edit

See http://www.berkeleynoise.com/celesteh/news.html for commission information.

Commission a short piece

Ok, so I live in the “center” of The Hague. This is a lot like an outdoor shopping mall. Everyday, I walk past mannequins. They used to freak me out, but no more. One of them is wearing a suit which I like. I pass it every day. Every day I like it a little bit more. I want to buy this suit.

Ok, so now that we’re clear that my motives are totally shallow, I’ve decided to start a commissioning thingee. I’m working on an album of pieces around 1 minute in length. I expect it to be done in two or three months. It is possible for you (yes, you!) to commission a piece on the album for the low price of 7€ ($10ish USD). You as the commissioner get to name the piece. Your role as titler and commissioner will be mentioned in the program notes for the piece whenever it is presented in any form. You will get a copy of the pice emailed to you in the audio format of your choice (MP3, AIFF, WAV, Apple Lossless, AAC) and have 5 days in which to come up with a title (I reserve the right to nix titles that I deem offensive). I retain copyright, but will release the piece under a share music licence, which thus grants you the rights to make copies for your friends and share it via your website or whatever.
The first commissioned piece is up on my podcast already. You could be next!

Edit

See http://www.berkeleynoise.com/celesteh/news.html for commission information.

Idea: Am I Trumpet or Not?

Jean-Calude Risset, while he was at Bell Labs, derived the overtone structure for trumpet attack timbres. Then, he made a catalog of available synthesized trumpet sounds. This was in the 60’s I think. There were already hundreds of computer models for trumpets. The number has undoubtedly grown. His catalog is a tape of him saying the number, followed by the sound. But this is a problem. Some of those trumpet sounds are subjectively better than others. But who has time to listen to the thousands of sounds available just to pick one?

The solution: an internet ratings site! People hear a trumpet sound and give it a score. (Or, it could be a contest where two trumpet sounds are pitted against each other.) Soon, one rises to the top of the heap. This is the best trumpet sound! Hooray!
The site should also offer the synthesis algorithm and sample code in C sound or whatever the sound is coded in. Risset’s catalog thus becomes useful to synthesis geeks.
I’m too lazy to do this, but I think it’s a good idea. Also, I can host it.

Repeating Playlists

I live over a record shop. I’m lucky to have the apartment. A vocalist had first dibs, but she decided the record shop’s music would drive her nuts. I had no such qualms. They stock music I like. I don’t mind overhearing music. It’s kind of nice, actually. There’s always some background tones.

Over Christmas they started repeating the same play list over and over and it included Christmas songs and was driving me insane. I came back from break and there was something new on. Huzzah! But it’s still on. The same CD. On repeat. Every day. For five hours a day. Coming through my floor. The same seven songs. Loudly. Over and over. Every day.
So I was coming into my apartment and heard the same CD again, so I went into the shop. The shop owner was arguing with a customer over something involving receipts. She asked me what I wanted. I said, “I’m your upstairs neighbor. I don’t mind that I can hear your music through my floor. It’s kind of nice, actually. But you’ve been playing this same CD over and over again and it’s starting to drive me nuts.”
I’m happy to report that the shop owner was a total asshole. “This is what I like” she said. “In a few months, I’m gone from here. There’s absolutely nothing else I can play. All the new stuff coming in is shit.” I’m looking surprised and looking over her shoulder at the Nirvana box set, at Kraftwerk, at Ladytron, and Peaches and shelves and shelves of CDs.
“There’s nothing else?” My eyes were on the shelves and shelves of CDs. “Do you want to borrow my ipod?”
“No, there is nothing else but soon I am gone. I’m with a customer.” she gestured at the man with the receipts and her angry eyes dismissed me.
Well, in a few months I’m gone too. She acted like I was being totally unreasonable. She’s been listening to the same CD for over a week. I’ve been listening to her same CD for a week. I could try to drown her out, but I know from experience she would just turn up louder. (I asked her once if my music was bleeding through and bothering her. She said it was not. (This was not snarky on my part, sound design is very important for a record store.))
In other news about me going crazy, I have an appointment with a shrink scheduled. Yay me. All the shrinks in the Netherlands that deal with gender issues are at a university hospital in Amsterdam. I do not have an appointment with such a shrink.
Finally, while I tag my old posts, some RSS readers like bloglines and livejournal are publishing old posts as if they are new. This is a bug, because they are ignoring the post date in the feed. (Safari does not have this bug.) Those of you being annoyed by this should consider filing bug reports.

Edit

She’s been playing this same CD from before. This is the one that was driving me crazy before Christmas. It’s been a month. jldgsfljgsdfgSLJDF

Edit 2

The record shop owner just knocked on my door and explained that she was pissed off at the customer, not me and that she has a cold and can’t hear and she switched the CD and turned it down and explained their marketting policy about their playlists. So it’s all ok now.

terrorist!

Apparently, the white house only offers audio archives of radio addresses delivered in the last year. (This one is very instructive: http://www.whitehouse.gov/news/releases/2003/02/20030208.html. what we without a shadow of adoubt know, or rather, maybe didn’t know so well.) This gives me less material than I had wanted, since I was going to mine all the radio addresses since Sept 2001. I was thinking of writing to the whitehouse and asking them to send me a CD of the old addresses. I was trying to figure out how to phrase this so that they wouldn’t figure out that i had artistic designs on the material or am registered Green. Also, since the web archives are all in Real format, I’ve been capturing them with Audio Hijack, which is time consuming and has the low quality associated with Real streams. But now I’ve got all the available radio addresses that mention “terrorist” or “terrorism” (but not just “terror”) and it’s 930 Mb of data. That’s way more than a CD will hold and CDs are 74 minutes. Maybe I’ll just work with what I have. ANyway, the low-fi could be nice.

not so shy

my shrink points out that people are normally shy approaching strangers and doesn’t seem to think that there’s anything wrong with me. I think she’s going to cut me off soon. then i’ll have to go back to whining to my friends.

acoustic awesomeness

but i did pay a compliment to a stranger today. I saw Mark Dresser play this evening and told him that his was the best bass playing that I’d ever heard. It was completely awesome. He’s got a pickup behind the neck, fingerboard sort of part of the bass, you know that thingee that people press the strings against to play notes… (go music shcool terminology!) So it pickups both the note he’s playing and the anti-note of the string left over. and he was doing this super cool finger buzz thing, where he intentionally didn’t press the string hard enough and it made this great buzzing sound. His string tunings were toally wild. He started writing the piece by coming up with the tunings. Then he wrote themes in those tunings. then he played the score by improvising on those themes. I’m not sure whether he just ordered them in real time or played variations on them. When I grow up, I wanna play standup bass. this very morning, when Alvin‘s composition seminar was waffling about what ensemble we’ll write for, Alvin threatened us, saying he would make us all write for solo bass. I think I’d be fine with that. If we get a string quartet,, I think I’ll write a bass feature.
bass = good
and speaking of Alvin’s class, we had a pianist come in to talk about John Cage’s Music of Changes and play it. He played the third and the fourth books. Alas, his name is escaping me, but he is an excellent pianist. and I was thinking, as I was listening to it, about what made the piece what it was. Every moment in it is beautiful. It’s a lovely piece filled with lovely and discreete (meaning totally seperated) events, which somehow blends togther into monotony. (i’m going to be burned at the stake like Joan of Arc by the music department. It’s bad enough that I like Phillip Glass’ new stuff.)
I read this book once about cartoon theory, which I can’t remeber the name of or the writer, but it’s pretty influential so far as comic books about the theory of comics go. and in it, they talk about using a lot of colors. Usisng a lot of red, for example, makes a bold statement. Or a lot of blue. Or a lot of yellow. or green. or whatever. But if you start using all of the bright colors, it starts to blend together somehow into grey. Or if you play too many frequencies at the same time, instead of getting the groovy complexness, it sounds like white noise. so what I think happens with Music of Changes is that you have to stay very much right in the present to enjoy it, because it is what it is while it’s going on. Every moment is pointalistic and lovely. and i think if i try to perceive it in any way but on a moment-by-moment or event-by-event way, it’s too complicated rfor my little brain and gets white-noisy.
However, the moments in it are so darn wonderful. I thinking of writing a program to generate some brass stuff based on the approximate algorythm that Cage used. But I think his timings are very virtuosically complex and are perhaps overburdening the player, so I want to combine the results with a performance algorthm invented by the total complexity guy. He wrote some pieces in the 60’s that players could play at the same time, but not togther, so as to create complex textures but still be fun to play. Music of Changes is an amalgamation of 8 parts, with incredibly complicatred timing. In fact, the timing is integral to the structure of the piece. My poorly conceived knock-off would have N parts, but be much freer on the timing. because it would be neat to have something with so many beautious moments that doesn’t take months to learn. and I want to write a brass ensemble piece, possibly as the second movement to my symphonic thingee

yanni

So I met somebody the other day who said she liked Yanni, and I realized that I’d never actually heard anything by him, despite his being a staple of pledge-drive season public television in the bay area. I asked Tom and he said, “Yanni’s great! I actually really like him.” But tom used these same words of praise on Britney Spears, so I thought I should investigate this for myself.

The offical Yanni website only offers 33 and 36 second previews of his work, so I can only talk about his introductions, of which I just downloaded a few. And listened to them while Xena stared at me with a confused and disapproving expression, the dog version of “wtf?” It sounds like an instrumental version of Celine Dion, but performed on Casio Tones.
Don’t get me wrong. I love Casio tones. And I don’t know what year’s music I was listening to. Perhaps it was recorded in the heyday of Casio tones. anyway, someplace, I have one, I think. I’m fond of it. It’s a midi controller and the accordian sound is really nifty when passed through an overdriven low pass filter. Actually, it’s Christi‘s casio tone, so perhaps I will never see it again, since i’m not sure where it has gotten itself off to.
I feel like there may be a strong asthetic connection between Yanni, Thomas Kinkade and Chicken Soup for the Soul. It feels like it is strongly rooted in the middle class, perhaps distinctly American (except that Yanni is Greek and Celine Dion is Canadian). It’s something born in the last decade? Perhaps earlier? The middle class is the backbone of our society. the silent majority who tromps off to work every day, pays taxes (most taxes? the rich aren’t paying anymore) and sees little benefit except in public education. Without the middle class, the US would decend into chaos and open class warfare, or at least chaos, since open class warfare is already being waged in many places. The middle class, locked into debt, is locked into non-radicalism. they have the most to lose and the most fear of losing it. the cultural values that they embrace define us a society, as they are consumers, so the rich pander to them while ignoring the poor.
Therefore, the middle class asthetic is safe. the middle class is up to it’s eyeballs in student debt, credit card debt and morgage debt, they can’t afford to rock the boat. the asthetic is comforting. while existing a few paychecks or one serious illness away from bankruptcy, the need for comfort is strong. And it allows them dreams of togtherness, unity and a social safety net. While isolated in the suburbs, with no real community around them, who wouldn’t desire to look at pictures of cohesive village social structures?
Or maybe I’m readin too much into this
I have a CD with an interview with a Dadaist on it and he’s talking about how the thing to do seemed to be to attack the bourgeois, as apparently they were unaware that it had been done to death. then they did some investigation and found out that they were all bourgeois.
“Science says we are the servants of nature: everything is in order, make love and bash your brains in. Carry on, my children, humanity, kind bourgeois and journalist virgins . . . ” (http://www.english.upenn.edu/~jenglish/English104/tzara.html)
I want to write a manifesto for an art movement. analyzing capitalist systems and Yanni is optional