EmPloyable was written for Tongue Drum samples and Disklavier that is spatialised through an 8.1 speaker array - using MaxMSP.
EmPloyable is a piece that that was composed for samples of a metal tongue drum, piano and electronics – using max to spatialise pre-recorded and generated sounds. The piece was conceptualised for electronics but after a meeting with Lindsay Vickery, there was the addition of the Disklavier - this would receive midi data from Max MSP and perform those notes. Compositional direction for the piece was discovered in a piece entitled Still Life by Composer Frances White (White 1989). This compositionally exposed a lot of intriguing ideas: the mix of live Piano and feedback, the sparse use of chords and interesting melodic lines and the use of no meter.
The notes of the Drum are C#3, C#4, B3, B4, G4, D3, D4, F#4
Implementing the electronics seemed to be best used to add frequencies to the samples of the drum. To expedite the process of individually documenting this process the information was sourced by using a Pitch-to-Frequency Calculator as detailed below:
Hz of the harmonic language across the whole spectrum.
C#:
1: 34.648
2: 69.296
3: 138.591
4: 277.183
5: 554.365
6: 1108.731
7: 2217.461
8: 4434.922
9: 8869.844
10: 17739.688
D:
1: 36.708
2: 73.416
3: 146.832
4: 293.665
5: 587.33
6: 1174.659
7: 2349.318
8: 4698.636
9: 9397.273
10: 18794.545
B:
0: 30.868
1: 61.735
2: 123.471
3: 246.942
4: 493.883
5: 987.767
6: 1975.533
7: 3951.066
8: 7902.133
9: 15804.266
F#
0: 23.125
1: 46.249
2: 92.499
3: 184.997
4: 369.994
5: 739.989
6: 1479.978
7: 2959.955
8: 5919.911
9: 11839.822
10: 23679.643
In Pro Tools, EQ3 7-Band EQ’s were used to isolate volatile frequencies within the audio files. In doing this there was the discovery of substantial amounts of audio ‘hiss’ due to the low quality of the recording. To omit the hiss a D3 DeEsser was applied to the channels. The inserts described above were recommended as primary plugin’s to Pro Tools that would achieve measured results in Sound Mixing (Buddle 2014). Below are the graphics detailing the process to reach a desired sonic outcome using Pro Tools
The notes of the Drum are C#3, C#4, B3, B4, G4, D3, D4, F#4
Implementing the electronics seemed to be best used to add frequencies to the samples of the drum. To expedite the process of individually documenting this process the information was sourced by using a Pitch-to-Frequency Calculator as detailed below:
Hz of the harmonic language across the whole spectrum.
C#:
1: 34.648
2: 69.296
3: 138.591
4: 277.183
5: 554.365
6: 1108.731
7: 2217.461
8: 4434.922
9: 8869.844
10: 17739.688
D:
1: 36.708
2: 73.416
3: 146.832
4: 293.665
5: 587.33
6: 1174.659
7: 2349.318
8: 4698.636
9: 9397.273
10: 18794.545
B:
0: 30.868
1: 61.735
2: 123.471
3: 246.942
4: 493.883
5: 987.767
6: 1975.533
7: 3951.066
8: 7902.133
9: 15804.266
F#
0: 23.125
1: 46.249
2: 92.499
3: 184.997
4: 369.994
5: 739.989
6: 1479.978
7: 2959.955
8: 5919.911
9: 11839.822
10: 23679.643
In Pro Tools, EQ3 7-Band EQ’s were used to isolate volatile frequencies within the audio files. In doing this there was the discovery of substantial amounts of audio ‘hiss’ due to the low quality of the recording. To omit the hiss a D3 DeEsser was applied to the channels. The inserts described above were recommended as primary plugin’s to Pro Tools that would achieve measured results in Sound Mixing (Buddle 2014). Below are the graphics detailing the process to reach a desired sonic outcome using Pro Tools