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In a sense, this work with computer music was a little disconnected from the Improvement project, but it really was the sound of the convolution that I was after – that’s the connection.
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But I also wanted to get convolution working. The first thing I did was to port Csound to the Macintosh Programmers Workbench, a really early programming environment.
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So, when Bob told us that he wanted ‘metaphorical spaces’ for each scene, I immediately thought ‘oh, convolution is what we need here!’Īt the Center for Contemporary Music (CCM) at Mills, we had just got a Macintosh II computer – which could handle floating point calculations – but what it lacked was software that could do anything like convolution. To me, these processes seemed very close to musique concrète techniques in how they treated sound. So, with convolution you soon realise ‘well, this is a way to make reverb or to make any kind of space’, so you’d play with instrument note clusters and put your voice through that, and find all these things that were not really possible at the time. I was especially struck by the sound of phase vocoding and convolution – in 1985 I had never heard anything like that before. It was the period in which they were developing Cmusic and the phase vocoder, and the whole thing was distributed on computer tape. TE: Well, I did work at the UCSD Computer Music studio in the mid-1980s. How did you connect your experience with computer audio to the Improvement project? How does this connect to working with computer audio processes such as cross synthesis or sound file convolution? It strikes me that that’s a very different world compared to computer music and digital audio.
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TG: So you’re in a multitrack tape studio, and you’re working with source material on tape – and you have these outboard effects boxes you can patch in to individual tracks. And for Improvement, I was also trying to hang things onto the score as much as possible – following the pitch of the passacaglia with certain drones or resonances, and trying to follow the time signature with all of my delays. This is commonplace now, but then it was just being tried out. And the nice thing about those early MIDI effects is that often a lot of parameters were mapped directly to MIDI inputs, so we were modulating a lot of things via computer-generated MIDI. It was at a point where things were just evolving beyond the modular synthesis of the 1970s, so many of the effects we used still had voltage control inputs as well as MIDI. And in that particular time, effects are fairly well developed, and most of them had MIDI control. Once you get in the studio – in this case a multitrack analogue studio – if you have any interest in those sounds at all, you feel like playing with effects. So I was certainly aware of this general concept of ‘studio as instrument’ for most of my life. These are the types of sounds that caught my ears early on in my experience of listening. At times it’s more forceful, at times not even in very early Les Paul songs you can hear things that could only happen in the studio, like double speed guitar. I mean, ‘studio as instrument’ is a concept that people kick around so often – you really listen to any pop music in the 1960s and 1970s and you can hear the studio entering into the music. I’m not prepared for this kind of question!. Where did that concept come from for you – what kind of an instrument is a studio? Is it a musical instrument, a scientific instrument, an instrument for performance? TG: Yes, I was going to ask about this – in the article you write that this work was informed by the studio as instrument concept. Tom Erbe: Well, to address the first part of your question, David Rosenboom and I were in the studio for maybe two months just experimenting with effects and with getting unique sonic landscapes for each character, so we were encouraged to really freely do things with whatever equipment we had – we had mostly live equipment. And the third section is when you discuss the shift from plugins as standalone software to, for lack of a better term, ‘modular synthesis’.
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The first section talks about the origins of SoundHack in terms of the specific project you were working on – Robert Ashley’s Improvement – and the technological and cultural landscapes in which you were working. Theodore Gordon: I think I had the most questions about the first and the third sections of your article.
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