Synthesizing in Ableton Live: Envelope Generators

My first pass at working with Ableton as a modular synth was to explore “dummy” clips. These are tracks that contain an audio clip with the actual content muted. The clip is then transformed into a container for audio effects automation that can be applied to any audio routed through whatever audio track the clip is in. The clip becomes an Envelope template that can be pulled into other projects.

Ableton Live allows the sound designer to see and manipulate many parameters within each individual clip. This is most amazing, and something I have not paid enough attention to. Here is a picture of the clip console from the Ableton Manual:

For Audio Animation Clips, the focus is on the Sample box and the Envelopes box. The slider in the sample box is used to mute the audio by simply turning it completely down. Now the clip is ready to be shaped into an envelope. (That is how Audio Animation Clips will function in my Abeju Synth Station – as Envelope Generators (AAC/EG). The two drop down windows in the Envelope box give the sound designer access to all the effects and mix processing available on the track for this clip only. So whatever I draw onto the audio clip itself only happens when that particular clip is playing. In the case of AAC/EG, the clip will play the animation of the envelope and the envelope will be applied to any audio routed through the track.

In order to create an AAC/EG, we need an audio track and an audio clip. The length of the clip doesn’t seem to matter cause it loops. (Currently, I am sticking with 8-12-24 bars and I hear potential for longer clips with more complex movement in the automation in the future). Use the volume slider to mute the audio within the clip. Then assemble a rack of audio effects you want to use to shape sound and insert them on the track. In the orginal audio clip, use the drop down box in the clip to access each effect, and turn them all to Device Off by moving the red line in the clip box to the off position. Now you have an open audio sleeve with no effects enabled. When source audio is routed through this clip, the audio will sound as is, with no effects present. Next, duplicate the clip. This will be the first AAC/EG. Go to the drop down box and turn on the devices you want to use. The top box takes you to the main effect, and the second will bring up every adjustable parameter within the effect. When you identify a parameter that you want to change, go to the red line in the audio clip window (on the right above) and draw in the animation you want.

Once I finally understood all this, I began to design AAC/EG Modules. Each module is a track with 2 to 4 different envelope template clips. Each instance of the clip can be shaped by adjusting the automation (I am calling animation) of the effects that are on the track. One technique I like is layering three effects over three clips. The track contains three effects (a delay, an EQ and a reverb), so the first clip has one effect on, the second has two, the third has three. Initially, I tried linking several modules (tracks containing the clips) together but found this too cumbersome. The option to layer modules is in the routing in each particular set.

To use the modules, insert another audio track that will hold the samples you are using. I label this track Source. Now there are several routing options, but the main idea is that the AAC/EG modules need sound coursing through them in order to perform. On the In/Out tab on the track, audio can be routed from someplace and routed to some place. The best mixing option so far is to have the AAC/EG modules receive audio from source and then everybody sends audio to the Master Volume. This allows the faders to act as dry/wet attenuators. The Source can be heard as is or through the AAC/EG Modules and Clip Templates.

So far, I have created four modules. Combed, Mangled, Stutter Delay and Harmonics Flinger will be useful when iBoD plays at The Bells on April 14th for SITES. More on that event very soon

Audiorigami Phase 2

Since releasing Audiorigami (Meditations on the Fold), my sonsense as to how to explore the Fold has shifted. This shift is in sync with Glenna Batson’s return to Durham and the start of a monthly Human Origami Jam. Glenna is interested in exploring folds through a variety of deep somatic frameworks. She narrates the biomolecular potentials that the body travails from utero through the many modulating intersections of growth . My own sonsense of the Fold is opening to the quantum aspects of sound and further harmonic interplay. I sense that these sonic realms might possibly allow access to some basic templates of life. Perhaps sound, in the form of patterned frequencies, guides life into being. Perhaps harmonic frequencies are part of a templates for the growth and movement of life forms through space and time. That is what I am playing with here.

The focus of Audiorigami will now be to explore the changing shapes of sounds themselves. Audiorigami will propogate, excavate, and modulate the folds that emerge from and disappear into the waveforms that are the vehicle of sound. Modular/ Granular Synthesis and Frequency Modulation are the methods for engaging with sound media. I plan to more carefully curate the sound sources I use and to do more sampling from my own recorded sounds.

Here are some excerpts from the Human Origami Jam which happened last month at ADF Studios. Glenna leads an exploration of lines and trajectories, corners and angles. The soundscape is my first rendering with some of the Abeju Synth Station modules I created from “dummy clips” in Ableton, coupled with TAL- Noisemaker VST synth plugin and Ripplemaker on the iPad.

Next Human Origami Jam will happen THIS FRIDAY March 15th at Joy of Movement Studios in Pittsboro NC from 4:30 to 6:30 pm. https://www.thejoyofmovementcm.com

Come join us!

The Sourdough Project

A major soundscape creation for 2019 is to sonify data for the Sourdough Project. The Rob Dunn Lab at NCSU, the Ben Wolfe Lab at Tufts, and the Noah Fierer Lab at the University of Colorado are collaborating to further the study of microbiomes in sourdough starters. The Sourdough Project has gathered starters from many parts of the world in order to study the bacteria and yeast interactions that create the fermenting acids and leavening gases necessary for the creation of sourdough bread.

In October 2018, the Sourdough Project Team and two artists met at the As If Center in Bakersville NC. The As If Center (Art and science In the field) is the burgeoning vision of Nancy Lowe, who is keenly interested in exploring this fertile collaborative area.The other artist was Ferne Johannssen, freshly graduated from college, and off to see what life outside of Vermont has to offer. Ferne is a visual artist/printmaker. [Interestingly, Ferne made a print on a scoby (symbiotic colony of bacteria and yeast) which grows and ferments in kombucha tea.] The purpose of our meeting was to seed an artistic and scientific direction for sharing the data from the Sourdough Project. All three labs were represented and we spent most of our time sharing information and structuring the research paper that will come from this study. Here is a description of the study from the Rob Dunn Lab website:

There are millions of kinds of bacteria and fungi on Earth. We have found several thousand species in human belly buttons alone. Yet if you mix flour and water, the community of organisms that colonize the resulting concoction is almost always composed of a small handful of organisms that are able to leaven bread, yielding a sourdough starter. How this happens is one of civilizations great mysteries, a mystery at the heart of the bread making (and, for that matter, traditional beer brewing). Yet, while bakers understand how to make starters, the underlying biology of the species in these starters remains mysterious. Starters can produce similar effects on bread (and similar flavors), despite being composed of different species, a key different ingredient. Conversely, starters composed of the same species sometimes yield different flavors. Then there is the issue of what happens to starters over time. The organisms in starters are hypothesized, by some, to stay the same over time—an old growth forest of miniatures—even if their living conditions change. Few ecosystems are so (apparently) stable. Then again, starters can change through time, sometimes suddenly. Starters are, if anything, predictably mysterious. But not for long. We aim to understand the biology underlying the differences among starters and the changes (or lack of change) in starters through time.

The last sentence of this description is what I honed in on. My current sense of how to render data as sound is that it would be most effective with data changes (or lack of) across a timeline. The other word that caught my eye is biology. What is biology? The science of living matter in all forms and phenomena, with special reference to origins, growth, structure, behavior and reproduction. The bases of biology are macromolecules (proteins, lipids, nucleic acids and carbohydrates), cells, and evolutionary changes creating phylogenic families across species. With sourdough starters, we are at the microbial layer of life. On the microbial level, diversity rules and it may have something to teach us. That is what I hope!

The Sourdough Project team had a conference call a few weeks ago, where we saw some of the data analysis of the samples, and received updates from each of the labs. Patterns are starting to emerge as the data is narrowed and focused into categorical relationships. This is the crossroads where it all comes together in the question: What do I want from this data? This most interesting question was posed our first night at As If Center, as we sat around an outdoor fire: what is your currency? what do you want from this project? I can’t remember ever having been asked that before.

The bakers who sent in samples want to know the microbiotic fingerprint of their particular starter. The scientists want to discover some new information about the ecologies of sourdough starters in general. The artists are interested in translation, transposition, representation of the discoveries found in the fingerprints. For myself, I am looking to identify a timeline and voice the bacteria-yeast exchange that is fermentation and leavening. Here is a diagram of a potential time frame:

Water + flour =

aab(acetic acid bacteria) ~ LAB (Lactic Acid Bacteria) ~ Yeasts

which give rise (the timeline but also a phase within the process)

to VOCs (Volatile Organic Compounds) aroma

To my ear this begins with the very lively interaction of the organisms that changes over time into a lighter, gaseous state. There is an alchemy that takes place and we are trying to hear and understand that.

Still looking at TRIC (Terry Riley’s In C) as a template for orchestrating interesting timbral relationships in this context. Pattern 35 is a possible frame for rise which seems to be the name of this piece. Pattern 35 jumps to a start with an eighth note run. This is the organism interaction phase. Then the mid section is where the rise happens with more space and elevation in tone. Then the aromatic texture is very open and light and unfinished.

What other sound elements might lend to this soundscape? There are likely real live sound samples to be had from this process. Another thought is what if each starter could have its own microbiome sounded out? To do this, I need to see more deeply into the data then I have to this date.

More to come…

*Photo from The Sourdough Project website

Minding the Oscillations

Reading deeply into sound, physics, chemistry, and nuerobiology, it becomes clear that lived experience is comprised of waveforms modulating each other. These waveforms weave around and through us. The waves are different frequencies and different amplitudes, they have different shapes and resonances AND they interact with each other, all of which creates various densities of matter. As extreme examples, there is a diamond and a thought. These extremes define the boundaries of material experience – the hatd shell of the matrix we exist within. There is more beyond these boundaries, and the more seems to be the field of conciousness.*

With this as a basic understanding, it is my intention to mind the oscillations, particularly those that eminate from my human being/my earth suit/the event horizon of my world. The waveforms I conjur come into phase relationships with themselves and with the waveforms of other human beings as we event our common reality/the hard-shell matrix. This is an amazing realization! This realization sheds light on a major question I have danced with in my life:

How can I be more loving? So much of my living is spent seeking love from “the world”. That was my quest for the first half of my living experience. While it does hurt so good, I finally realized the question is framed in an unhelpful way. So I am moving from how can I get more love, to how can I be more loving?

My most important practice for exploring this question is awareness and presence in the moment. We have been listening to Eckhart Tolle go on and on about this. He works very hard to articulate awareness/presence in all the ways that might possibly bounce around (or cut through) the mind. Listening to ET, I am aware of the trinity of self, egoic mind and conciousness all walking into a bar. (It is a good practice for them to stick together, although the bar was probably egoic mind’s idea.) These three are waveforms of their own, and their interactions eminate into manifest world! These two thought-fields (waveforms of matter and awareness through being) intersect at my heart.

One definition of oscillation (from physics) is

regular variation in magnitude or position around a central point

This aptly describes the interplay of these two planes intersecting through me at heart center. I feel this most intensely when I am sounding harmonics through a space. Especially using modular synthesis – with all the operators, envelopes, slopes, attenuations, triggers, gates and frequencies- to create actual sonic forms in space. At present I play with Ripplemaker ios app from Bram Bos. It is great to learn on. Ableton can function as a synthesizer. This is my focus at present- to configure Ableton into a synthesizer. (I am deeply desiring a modular system, but must go slowly due to funds. So work with what you have!)

This first week of 2019 – a new year (marking earth’s intersecting oscillations with the sun, moon and stars) brings some interesting mantras –

Listen more deeply, mind the oscillations, propagate harmonic vibrations, learn to play with forms, depersonalize the whole thing! The WoW

Alrighty then!!…on with the emanations!

*These books have informed my thinking about all this:

Long, Manya J. The Psyche as Interaction (Electromagnetic Patterns of Conscious Energy)

Lanza, Dr. Robert Biocentrism and Beyond Biocentrism

Voices from Eris released 1/3/19

Cover art by Bronwyn Mackenzie

Voices from Eris was released on Shifting Waves label January 3, 2019. Here is a link to the Bandcamp page where you can buy the album!

http://shiftingwaves.bandcamp.com/album/voices-from-eris

Big thanks to all the artists and especially to Margaret Harmer, who brought mad skillz and expanded sonscience to the project.

Big thanks to any of my friends who takes the time and interest in my being in the world. I love you and would love to talk with you over a cup of tea very soon!

Human Origami Soundscape Dec 7 2018

Today at 3 pm, Glenna Batson will lead an exploration of folds and resistances. In her words:

What happens when awareness meets a curved line, a folding surface, a deepening crevice within the body’s interior and the surround? Is the quality of this first contact fixed or free? Is the conversation open or resistant? Is there a clear beginning and ending? It’s at this junction between folding and unfolding where new possibilities for negotiation arise – where a boundary can become more porous and transparent. In this session, movers will uncover the rub of resistance within themselves and open the conversation to new movement possibilities.

The soundscape for today’s playshop will be a piece from Audiorigami (Meditations on the Fold) interspersed with modular synthesis play in formless to form and back again. The Audiorigami track is called 11th Harmonic and consists of overlapping 11th harmonic intervals. This harmonic at extremely high frequencies has been shown to break up tumor cells! The Law of Octave allows us to bring the high frequency into the audible range, and benefit from the entangled resonance with the higher frequencies.

11th Harmonic is a kind of smudge soundscape. It has the capacity to clear stuck energy in a space, in a body, so is perfect for the suggested intentions Glenna has put forth. This piece has five or six movements, and the parts are layered in and shimmered over each other. This is an example of how I have created audiorigami to this point. Now there is new direction in the form of Ripplemaker – even the name suggests the Fold!

Ripplemaker is an iOs semi-modular synthesizer. Synthesizers play electrical signals or control voltages. These voltage-based signals are shaped by waveforms, oscillators, envelopes, filters and effects into sound sculptures. Modular synthesizers can illustrate the journey from the formless into form in amazingly beautiful ways! And the journey is accomplished through folds. The basic structure of this sound material is the waveform, and each waveform highlights the harmonic overtones in different ways. The waveshape is then propogated, expanded, attenuated, filtered, timbrally-morphed through oscillators, envelopes and filters. The journey is amazing and intense, so each mod synth excursion will be followed by a bit of room resonance and breath. Then 11th Harmonic will return.

Very excited to give this voice today at 3pm at ADF Studios. Please come and play with us!

Voices from Eris – Various Artists

Voices from Eris is a compilation of women electronic artists from around the world. The brainchild of Margaret Harmer of Shifting Waves Studio in Geneva, Switzerland, the album is a cauldron of sound shapes that interweave and connect far beyond the individual voices of each woman. You will hear the song of rocks, sirens, the trapped and the free. You will hear the sound of the deconstruction of patriarchal structures, and the spinning of new and dynamic sonic forms that are flexible and expansive.

Here is a link to the crowdfunding site for the album, where Margaret illuminates the inspirations behind the album title, the larger signifigances of “Eris”, and why we feel compelled to express ourselves at this moment in time.

https://wemakeit.com/projects/voices-from-eris

This is not your typical music album, so I feel the need to help you hear exactly what it is we are doing. Unfortunately, many people bring their “music” ears to these pieces, with all the evaluative frames entailed in “listening to music.” These frames interfer with the listener’s ability to access sound paintings. If you have ever experienced Magic Eye paintings, then you know that looking at them with “what is this a picture of?” eyes makes the form of the picture completely inaccessible. In order to see deeply into a Magic Eye painting, one has to relax the gaze, soften the eyes, and surrender mind/awareness, only then will the form in the painting emerge. When this same kind of deep gaze can be translated to a deep listening – the soundscapes become mesmerizing and create new worlds in the brain ear.

On behalf of all of the artists on the album, I appreciate your love, respect and support for this project! Help us make it happen!!