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Synthesis of Gamelan Instruments

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Synthesis of Gamelan Instruments Support Materials for Magic Strings Project Zack. Settel Feb. 2005 The following material is intended to directly support this project, either as current documentation (what’s already in place), or as closely related material, upon which artistic or technical elements for the project will be drawn. You may also wish to see Bruits de L’Esprit and Espace-V in the portfolio materials for examples of similar work, of which, certain aspects of this work will be a continuation. The material presented on CDROM and is intended to be browsed using any standard web browser (assembled using Safari), and consists of items in standard formats, jpeg, pdf, Quicktime etc. Note that there is also a version of this document on-line at: http://www.zeep.com/zack/projects/magic-strings/supportMaterial/index.htm Certain areas, discussed in the Project Description, are illustrated with support material (generated by Settel), both to demonstrate how certain desired effects can be realized, and to provide a “taste” of how some of the material will sound. Synthesis of Gamelan Instruments Using the technique of FM synthesis, the sounds of several gamelan instruments can be synthesized to a surprisingly realistic degree, particularly metallic ones such as the kenong, kempul, saron, reyong, gender etc.. 1. 100% synthesized small gamelan ensemble The recording was made using a Yamaha TX802 FM synthesizer (the technique now is available using software-based systems, such as Pure Data, the environment chosen for the project). listen Cross Synthesis (or “audio morphing”) As mentioned in the Project Description, the tehnique of cross-synthesis, allows features of one sound to be projected on to those of another. Singing and spoken voice lends particularly well to this technique. Two examples are provided. 1. Sound of a spoken voice morphed (cross-synthesized) with a wood blocks The recording features sound 1 (the voice), then sound 2 (the woodblocks) then sound the morph of 1&2. Note that the text remains quite clear in the morph. listen see technical document 2. Sound of a soprano saxophone morphed with itself (using dynamics processing in freq. domain). listen see technical document Dynamic Gating Using this technique, it is possible to obtain results similar to the morphing technique mentioned above, however, the result is a bit more “crisp”, i.e: the intersection of the two sound sources is more responsive, and less detailed, allowing for example, a voice to activate prerecorded sounds very tightly. This technique compliments the morphing technique, since it allows for rhythmic interaction with prerecorded sounds (there is less delay or hesitation). 1. Voice combined with a percussion ensmble listen Other techniques Using ring modulation in combination with other sounds, it is possible to obtain sounds that are similar to gamelan type sounds. 1. Two examples of ring-modulated piano sounds, combined with FM synthesis listen listen Immersive Audio Techniques The use of sensors for movement and position detection, and a framework to support immersive audio/music techniques is included in the project description. The following support material (original) refers to the work I am currently developing in this area, for which the techniques, and methods for the installation will be drawn. Framework for immersive music The following material provides details concerning the framework. It is important to note that it does really exist, and is in use (see example) in installations. Soundscape see overview see technical document Event Detection Systems for detection of audio events (user audio input: e.g. speech etc.) will be used. See technical document note: as mentioned in the Project Description, the area of sensing and position detection will be handled by the host institution, however I am quite experienced in this area, and am quite familiar with the underlying techniques and systems..
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