History : Early Sound Design - Suzanne Ciani, Sexy voice, Sexy Sound

 Thx to Matt Subjex for this

At Wellesley as an undergraduate, Suzanne went on a field trip to MIT. There she was introduced to a professor who was attempting to make his computer re-create the sound of a violin. Thus began Suzanne's 25 year Odyssey with the art of electronic music. She was there in its nascence and instrumental in its growth and ascendancy. As a graduate student in Music Composition at Cal Berkeley in the late 60s, Suzanne began working with the pioneers of electronic music.

Final result on the Bally Xenon pinball machin. Raowww

She had her roots in both digital and analog synthesis from the beginning. She studied at Stanford with Max Matthews, and John Chowning, the father of digital frequency modulation. But what most changed her life was meeting one of the earliest designers of analog music instruments, Don Buchla, whose apprentice she became, working on the assembly line at his Oakland shipyard loft. She was to devote the next ten years of her life to exploring the possibilities of this unique instrument, the Buchla, and her mastery of it would launch her career, which is not really my type of music. I prefer pinball freaky sounds personnaly, but im not here to judge. ;)

Here is the Buchla thing & buchla sound (click)

You can anyway check her website for more

Sound Design: Berna

Between the 1950s and the mid 1960s, long before Robert Moog and Wendy Carlos injected electronics into pop-music (with a few exceptions like the Barrons and Raymond Scott), electroacoustic music was pioneered by european radio laboratories and US universities. Composing with tapes and electronics was a serious painstaking and expensive affair, prerogative of a restricted elite of contemporary music composers and adventurous sound engineers. At that time there wasn’t any electronic musical instruments market, as a matter of fact, most of the equipment was adapted from scientific tools belonging to radio engineering departments. Sometimes the equipment was built from scratch cannibalizing anything that had wires, tubes and pots, more rarely, the studios used the few commercial instruments available in those days, such as the Melchord, the Trautonium and the Theremin. Contrarily to what happens today, electronic music then was everything but fast and easy to create. A few minutes of electronic composition could take more than one year of work. Everything was handmade, from complex timbres with multiple sine oscillators bounces to tape editing with scissors and scotch-tape. Even sound envelopes were manually built by cutting tapes’ edgdes at different degrees of inclination. Ussachevsky’s ADSR was yet to be invented!

Berna is a software simulation of a late 1950s electroacoustic music studio. Oscillators, filters, modulators, tape recorders, mixers, are all packed in a easy-to-use interface with historical accuracy.

Explore serial, concrete and tape music or create strange new sonic worlds with instruments inspired by the greatest studios of the early days of electronic music. Are you ready to meet the grandfather of the synthesizer?

from Tobor Experiment

Sound Design: DRUM BUDDY

The Drum Buddy was invented by Quintron. It creates music like any other synthesizer but what separates this from the regular one is the fact that the oscillators on this musical synthesizer are light activated and you can play them intuitively by moving a can around which is located in the top of the Drum Buddy creating unique sound. Each of the 4 oscillators is represented by a different color and each has been designed to complete a total rhythm kit. There is a 10 turn potentiometer wired to control the spinning can motor speed.

check here for more details

Christian Marclay - Visual Artist & Composer

Christian Marclay is a New York based visual artist and composer whose innovative work explores the juxtaposition between sound recording, photography, video and film. Born in California and raised in Geneva (Switzerland), he studied sculpture at the Massachusetts College of Art in Boston and at Cooper Union in New York. As performer and sound artist Christian Marclay has been experimenting, composing and performing with phonograph records and turntables since 1979 to create his unique "theater of found sound." Marclay has collaborated with musicians such as John Zorn, Elliott Sharp, Fred Frith, Zeena Parkins, Shelley Hirsh, Christian Wolff, Butch Morris, Otomo Yoshihide, Arto Lindsay, and Sonic Youth among many others. A dadaist DJ and filmmaker his installations and video / film collages display provocative musical and visual landscapes and have been included in exhibitions at the Whitney Museum of American Art New York, Venice Biennale, Centre Pompidou Paris, Kunsthaus Zurich, San Francisco Museum of Modern Art.

A few minutes of Christian Marclay's 13-minute music/video installation Video Quartet called ‘replay’, as shot on DV at the Tate Modern in London (unauthorized, thus the crappy sound quality, sorry). I've stayed 3 hours there when i saw it the first time. A great idea and perfectly realized.
It's seen best in Marclay's two rapid anthologies of filmic snippets. The earliest is Telephones from 1995. For almost eight minutes, the phone rings or is dialled with nervous hands. It's a huge cinematic survey of telephonic jitters, rehearsing those gripping moments (again and again) when the remote tones enter someone else's mind with life-changing intelligence. The repetition makes the phone and actors look ridiculous.

Marclay discusses here his interest in unwanted sound, his use of turntables, early examples of his art and more recent pieces too.
The captivity of music in a record isn't the only subject of this strangely liberating vandalism. In fact, Marclay depends upon recorded music for his videos, both as form and subject matter. His works all contain recorded sound; it's his inspiration and goad. If there's a problem with recorded music, it's the mechanical nature of it. The wider target of Marclay's wrecking hands is the mechanistic, the scripted and the predictable.

 

Christian Marclay Body Mix series _199X

Sound design: Ovalprocess

If u dont know, u have to..

Markus Popp: Music as software. Genious.

born 1968, in Darmstadt (D); computer musician. Cofounder of the Laptop Scene founded in the mid-1990s, and mastermind of the so-called Glitch Style. Since the formation Microstoria (with Jan Werner from Mouse on Mars) and Oval (originally with Sebastian Oschatz, today working solo) Pop concentrates on digital, clicking and humming sounds, characteristic sounds the result of calculating mistakes or computer crashes, and he develops an original processing style for handling them, whose repetitive patterns convey depictions of the internal organizational mechanisms of digital systems. Pop sees concepts such as musical intuition and creativity in the Age of System Theory and Digital Calculating as obsolete. He also sees the musician as being the mediator of technological aesthetics; lives in Berlin.

The 6th full length release from markus popp (aka oval) finds this world renowned digital mastermind extending the concept & musical platform of last year's acclaimed ovalprocess in every way. exploring a spectrum of sounds between the abrasive sandblast of neo desktop rock (tracks 1-3) and the alienating, timeless splendor of dsp chamber music. in between there are unique excursions in folk electronica (track 4) and pop inflected wall-of-sound tunes that could only come from the mind of oval. popp describes ovalcommers as a 3d musical obstacle course, a friendly and accessible invitation to complexity. ovalcommers surprises with poetic and playful elements (organs and layers of guitar feedback), making room for understatement, sophistication and a new, almost absentmindedly casual atmosphere. haunting emulations of processed brass, string and woodwind sections are carefully added to the otherwise still angular desktop rock. listeners will leave ovalcommers with a new perspective on oval in general, as popp's strategy becomes clearly visible: a friendly, yet relentless fanaticism to experiment and innovate musically."

Read the full interview here

Download Ovalprocess here

Of course, artists needs support, so you can buy it online (Cd or Lp),
on www.a-musik.com

Sound Design? Roland Olbeter, Fast Blue Air

Roland Olbeter and his team conceived, built and programmed the instruments and a MIDI to PLC converter, the incredibly inspired composer Elena Kats-Chernin wrote the score in Sidney before knowing the actual machines (at that stage she only knew a briefing of their possibilities and their note range).

"Music for strings and drum.
Seven musical pieces for five robot instruments: two violins, a viola, a cello and a drum.

The electro-acoustic instruments use pneumatic micro-pistons fired by a midi program to determine the
pitch of the strings. Each instrument has two kinds of pizzicato (piston) and two e-bows (a system of changing-polarity electromagnets), which keep the strings in resonance and produce an infinite sustain.They do the same as a traditional bow with a string instrument.

The sound is amplified and post-produced using synthesisers.

Written by the Australian composer Elena Kats Chernin, the seven pieces has been commissioned by the German company Festo and were premiered in April 2007 to mark the 50th anniversary of the Hannover Industrial Fair."

Composer:
Elena Kats Chernin
Instruments:
Roland Olbeter
Sound Engineer:
Carlos Fesser

Check his website. Its amazing  >>> www.olbeter.com<<<<

What are the Frequencies of Human Brain Waves?

“Beta waves range between 13-40 HZ. The beta state is associated with peak-concentration, heightened alertness and visual acuity….. 40HZ beta frequency may be key to the act of cognition.”

Alpha waves range between 7-12 HZ. This is a place of deep relaxation, but-not quite meditation. In Alpha, we begin to access the wealth of creativity-that lies just below our conscious awareness – it is the gateway, the entry-point that leads into deeper states of consciousness. Alpha is also the home-of the window frequency known as the Schuman Resonance, which is the-resonant frequency of the earth’s electromagnetic field.

Theta waves range between 4-7 HZ. Theta is one of the more elusive and-extraordinary realms we can explore. It is also known as the twilight state-which we normally only experience fleetingly as we rise up out of the depths-of delta upon waking, or drifting off to sleep. In theta we are in a waking-dream, vivid imagery flashes before the mind’s eye and we are receptive to-information beyond our normal conscious awareness. Theta has also been-identified as the gateway to learning and memory. Theta meditation increases-creativity, enhances learning, reduces stress and awakens intuition and-other extrasensory perception skills.

Delta waves range between 0-4 HZ. Delta is associated with deep sleep. In-addition, certain frequencies in the delta range trigger the release of-Growth Hormone beneficial for healing and regeneration. This is why sleep,-deep restorative sleep is so essential to the healing process.

source: cellphonesafety.wordpress.com