365​/​2015

by namke communications

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This piece is for day 6 of my 365 project. I am speaking into a virtual room — unlike Alvin's, but performing a similar process. My voice will be looped through the room-simulator until the resonances in the room are all that remain.
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All we are, decays
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I'm waiting for the call, I'm waiting for the call, I'm waiting for the call, I'm waiting for the call, Lord, I'm waiting for the call, Waiting for the call.
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Lyrics busked out on a theme started three years ago. Sometimes it's handy to keep notes lying around! Conductor 71 ---------------- Call for me, Conductor, Call for me, Call for me, Conductor, Call for me, I'm lost in the fog, Out here on the sea, Out here on the sea, Call for me, My conductor I'm not sure, That our love, Will stop the moving stairway, Will stop the moving stairway, I'm not sure, If our love, Would stop, The stairway. Time stops for me, But I doubt it stops for you, I doubt it stops for you Time stops for me, But I doubt it stops for you,
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…and so it ends…
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The sun rose, just like every other day The birds woke, just like every other day He got up, just like every other day And nothing happened. Just like. Every. Other. Day.
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4'33 is a shorthand for silence. February's recordings are not 'cover versions' but utilise the duration to highlight the listening experience. A performance of 4'33 is not simply sitting at a piano and not playing it; it's attending a performance, being attentive and listening - as if the pianist were playing - and hearing the environmental sounds of the moment. A performance of 4'33 in an anechoic chamber would be different for each audience member as their blood flow, heartbeat, latent tinnitus and so on comes to the fore during the performance. We can each attend our personal 4'33 every day – one is just required to listen for two hundred and seventy-three uninterrupted seconds, mentally closing the piano lid at the end. Music is, after all, “organised sound” - by defining bounds, the sound is organised — corralled — and music happens.
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with_fx :ring_mod do |xx| live_loop :hat do sample :drum_cymbal_closed, pan: (dice-1)/5 sleep dice * 0.03125 end sleep 5 live_loop :bd do sync :hat sample :bd_pure, rate: 0.75 sleep 1 end sleep 5 live_loop :sd do sync :hat sample :sn_dub, rate: 1, pan: (dice-1)/5 sleep 3 end sleep 5 live_loop :sd2 do sync :hat sample :sn_dolf, rate: 1, amp: 0.6 sleep 5 end end sleep 15 with_fx :echo, decay: 10 do live_loop :ec do 4.times do |t| sample :ambi_soft_buzz, rate: t+1, amp: 0.5, pan: (dice-1)/5 sleep dice/3.2 end end end sleep 15 live_loop :b do play scale(:C2, :major_pentatonic).tick sleep 1.5 end
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unsigned int sample_rate = 16000; void setup() { PLLCSR |= _BV(PLLE); // Enable 64 MHz PLL delayMicroseconds(100); // Stabilize while (!(PLLCSR & _BV(PLOCK))); // Wait for it... PLLCSR |= _BV(PCKE); // Timer1 source = PLL // Set up Timer/Counter1 for PWM output TIMSK = 0; // Timer interrupts OFF TCCR1 = _BV(CS10); // 1:1 prescale GTCCR = _BV(PWM1B) | _BV(COM1B1); // PWM B, clear on match OCR1C = 255; // Full 8-bit PWM cycle OCR1B = 127; // 50% duty at start pinMode(4, OUTPUT); // Enable PWM output pin // Set up Timer/Counter0 for sample-playing interrupt. // TIMER0_OVF_vect is already in use by the Arduino runtime, // so TIMER0_COMPA_vect is used. This code alters the timer // interval, making delay(), micros(), etc. useless (the // overflow interrupt is therefore disabled). // Timer resolution is limited to either 0.125 or 1.0 uS, // so it's rare that the playback rate will precisely match // the data, but the difference is usually imperceptible. TCCR0A = _BV(WGM01) | _BV(WGM00); // Mode 7 (fast PWM) if (sample_rate >= 31250) { TCCR0B = _BV(WGM02) | _BV(CS00); // 1:1 prescale OCR0A = ((F_CPU + (sample_rate / 2)) / sample_rate) - 1; } else { // Good down to about 3900 Hz TCCR0B = _BV(WGM02) | _BV(CS01); // 1:8 prescale OCR0A = (((F_CPU / 8L) + (sample_rate / 2)) / sample_rate) - 1; } TIMSK = _BV(OCIE0A); // Enable compare match, disable overflow /* flash the light too ;-) */ pinMode(0, OUTPUT); pinMode(2, INPUT); // read from analogue on (chip pin 2) pinMode(A3, INPUT); } int analogIn; int boop=1 << 8; unsigned int del=1000; volatile unsigned int x; void loop() { int i = analogRead(A3); analogIn = i * 4; if (digitalRead(2)) { boop = random(0,analogIn); digitalWrite(0,1); for (x=0;x<del;x++); digitalWrite(0,0); for (x=0;x<del;x++); } else { del= random(0,10000); } } // 'saw' is actually a fixed-point (8+8) phase accumulator unsigned int saw=0; ISR(TIMER0_COMPA_vect) { // Write to the PWM controller OCR1B = (saw >> 8) > 127 ? 255 : 0; saw += boop; }
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lv = [0.0,0.1,0.2,0.3,0.4,0.5,0.6,0.7,0.8,0.9,1.0].ring n1 = [36,38,41,44,46].ring n2 = [60,48,54,62,46,36].ring define :r_level do |l| control l, mix: lv.tick end # Rhythm section with_fx :ring_mod do |xx| live_loop :hat do sample :drum_cymbal_closed, pan: (dice-1)/5 sleep 0.125 end sleep 8 live_loop :bd do sync :hat sample :bd_pure, rate: 0.75 sleep 1 end sleep 8 live_loop :sd do sync :hat sample :sn_dub, rate: 1, pan: (dice-1)/5 sleep 2 end end with_fx :reverb, room: 1.0 do |rm| live_loop :r do r_level rm sleep 25 end use_synth :fm live_loop :b do play_pattern_timed n1, [5], attack: 3, release: 3 end sleep 30 use_synth :dull_bell with_fx :echo, phase: 0.5 do |e| live_loop :c do play_pattern_timed n1,[0.3], attack: 0, release: 0.2, amp: lv.tick end end sleep 30 use_synth :zawa with_fx :reverb, room: 1.0 do live_loop :d do play n2[dice], amp: lv.tick, pan: (dice-1)/5 sleep dice end end end
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l = line(0,1,steps: 100) s = line(20000,500, steps: 100) use_synth :sine with_fx :bitcrusher do |bc| with_fx :distortion do |d| 100.times do |i| control d, distort: l[i] control bc, sample_rate: s[i] play rrand(40,100), amp: rrand(0.1,0.5), pan: rrand(-1,1), attack: 0, release: 0, sustain: rrand(0.1,2.0) sleep rrand(0.1,4) end end end
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#!/bin/sh ############# # PART 1 # Extract 1.5 seconds from each sound (starting at 30 seconds into the file) for d in {1..364}; do echo $d ~/sox-14.4.1/sox ../$d-365/$d.wav parts/$d.wav trim 30 1.5 done ############# # PART 2 # attempt to splice all of the 1.5 second fragments into a long file with 0.5 second # cross fade between: # 1: 0 -> 1.5 # 2: 1 -> 2.5 # 3: 2 -> 3.5 # etc. # start with part 1 cp parts/1.wav out/365.wav for f in {2..364} do echo $f i=`~/sox-14.4.2/soxi -D out/365.wav` ~/sox-14.4.2/sox out/365.wav parts/$f.wav out/tmp.wav splice -q $i,0.25,0 mv out/tmp.wav out/365.wav done mv out/365.wav 365.wav

about

This year I'm going to try and produce a piece of audio every day. There'll be a new track each day of 2015.

Sonically, it's likely to be All Over The Place…

credits

released January 1, 2015

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all rights reserved

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about

namke communications York, UK

Since 2000 John Tuffen has been performing/releasing electronic music under the name of namke communications. Originally formed with Damian Murphy in 2000 for the SightSonic festival in York, since 2002 it has been a solo venture.

December 2011 saw the live return with a synthesiser/drum-machine trip; January 2012 saw a guitar replacing the synth but still maintaining the electronic edge...
... more

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