Download the app by clicking the above link in Dropbox from your Android device.
Install and Launch. It should immediately make some sounds.
There is no OFF button. Close the app to stop.
I have only ran this app on my Galaxy 3 phone. I would love to have your feedback. Does it run on any other Android devices? Were you able to install them easily?
BiQMOd (2016) is a software synthesizer I made using SuperCollider. It features a biquad filter modulating frequencies of three oscillators. I believe that It makes raw and fun sounds that are uniquely digital.
You can try the synthesizer on SuperCollider. Download the patch from the following link:
Here’s a video of an example performance. This version uses MIDI controller to control the knobs. The MIDI version and Android app version will be coming soon!
(update: 10/8/20221) The post has three videos of Control Click. The first video is an excerpt that demonstrates the aesthetics and how-tos of the piece. The second video is a documentation of the 12-minute version installed in an outdoor.
Control Click is a piece for a site with multiple computers, such as computer lab or a game room. With a simple installation of a freeware, a typical computer lab will turn into a multichannel audio-visual instrument playing algorithmically generated parts. The piece has two subsections: the first section is an ambient soundscape to be played while the audience gathers in the site. Once enough audience is gathered in the lab, the main section will start. The main section is about 12 minutes long, and it sounds like a dream sequence at an arcade.
Technical Needs:
1. A site with iMac computers.
A computer lab is the easiest place to realize this piece, but any spaces that can host multiple computers would work
The current version works best with 8 to17 computers
8 to16 computers are Performers. See instructions in Performer.scd file for hardware/software setup instructions.
1 computer is Conductor. See instructions in Conductor-8Macs.scd or Conductor-16Macs.scd for hardware/software setup instructions.
All iMacs should not go to sleep mode or turn on screen saver
All iMacs should use their internal speakers
All iMacs often play the sound at its maximum volume
The technician or the installation manager should have an admin access to adjust the network setup
The piece runs in automation mode once the technician setups and runs the Conductor and Performer files at the beginning of the installation
Questions?
If you need a version for a different number of computers, please feel free to contact me.
If you have any questions or comments, please feel free to contact me.
The third video is an update of an old sound installation It is now performable with an ensemble of drum machines. EMEWS is following the below instructions cued by a conductor.
[0] Computer part starts. Stay muted at BPM 146
[1] Enter one by one (2-3 instruments, no BD)
[2] Gradually add delays or effects
[3] Stop Delay
[4] Mute
[5] Enter one by one
[6] Sudden Delay
[7] No Delay. Improvise freely. One person adds BD
Bb clarinet and Bass clarinet : A solo player will switch the instruments during the piece.
Computer : a Macintosh with OS 10.9+ is preferred, but PC should also work.
SuperCollider : this is a free software that runs the computer part. Download it from HERE if SuperCollider is not installed already
Armor+2.scd file : this is the computer part for the piece. If you don’t have it already, download it from the composer’s website (Here) or contact the composer at https://www.facebook.com/joowonmusic
One Microphone: Close-mic the clarinet. A good condenser microphones is preferred.
Audio Interface: The interface should have at least one microphone inputs and three outputs. The first two outputs send computer part. The third output sends a click track.
Headphone: connect the click track output to the headphone for the performer.
Speakers/PA : Connect the stereo output of the audio interface to the sound reinforcement system.
How to Use Armor+2.scd File
Make sure that your audio interface is set as the default input and output device for the computer.
Open Armor+2.scd in SuperCollider.
Go to Menu-> Language-> Evaluate File.
You will hear measure 1 in few seconds. Press command+period(.) or go to Menu-> Language-> Stop to stop.
Repeat steps 3-4 to restart.
Do not let the computer go to sleep mode. It may cause a disconnection between the hardware and software.
Performance Instructions
The electronic part should be as loud as the acoustic part. Adjust the gain and/or microphone position accordingly. Most of the computer parts are live-processed or algorithmic. The computer part processes the sound of the ensemble in realtime, and it will sound slightly different in each performance. It is important to follow the tempo as accurately as possible to be in sync with the computer part. The click track is not absolutely necessary, but it may assist the performance. The performer should be able to operate the computer part as the computer part requires runs automatically after the first measure.
The click track starts at measure 1 without a count off. Place the bass clarinet near the performance space for a quick switch at measure 68.
The following boxed words notated in the computer part indicate an addition or variation of the computer part: AM, AM2, and FM add harmonic elements. Ticks are short percussive sounds. Stutter imitates a short segment of the performer’s sound. Reverb simulates a room sound. Pad is a long synthesized tone, which can have a smooth or sharp beginning.
There are some extra files in the download site. If the performer wants to practice the piece by sections, use the files in ForPractice folder. Armor+2-ClickOnLeft.scd has the click track on the left channel. If the performer does not want to operate SuperCollider part during the practice, he/she can use the recorded electronics part in ForTapeVersion folder.
I taught Digital Signal Processing Theory class in the last Spring. I have never studied this hard to teach a course. As a result, I learned (or relearned) about DSP quite a bit. More specifically, I learned to appreciate elegance of “classic” techniques, such as AM, FM, sample-and-hold, and delays. I think I can explain them in digital terms. Most importantly, I learned that digital signal processing is all about (good) math.
The best way to wrap up the semester and summarize what I have learned is to make a piece using the new techniques I have learned.
1. To start the piece, I begin with a sinusoid generated with very slow Low Frequency Oscillator (LFO) on its pitch. The LFO’s shape is made with a wave shaping function using polynomials. The result is an unusual curve pitch pattern.
2. On this polynomial curve, I add sample and hold. The smooth line gets “steps” in terms of pitch. I change the S&H rate to create different rhythms
3. As the piece progresses, I would like to have some frequency modulation gradually fading in.
4. This should sound fun if I have more of them. Here is an example of all the techniques with four sinusoids. The rate of S&H, the shape of polynomial curve, and the modulation rate of FM are randomly selected for each line.
The resulting sound sounded like a good accompaniment for a noisy electronic piece. So I played a no-input mixer and custom synthesizer over the polynomial pads. I also continued the piece with algorithmically drum part that I have developed for Snake and Ox track in my latest album (more about this track later).
Here’s the final result, Snake Extension. I think I’ll add this to my solo repertoire.
