Mark Matamoros ITP Blog

ITP Courses

Fall 2019

Spring 2020

Fall 2020

Listening Machines

Week 6 Final: FFT Plugin (DAW) for Live Performance. October 23, 2020.

FFTAnalyzer Plugin: AU/VST

FFTAnalyzer is a visual live performance plugin to be utilized within a digital audio workstation. As opposed to utilizing a separate application to handle visualizations, this plugin allows the user to implement an FFT animator within their music composing environment.

In this scenario, users can easily modify the playback sound source to manipulate the FFT animation through dynamic based processing, such as an equalizer. Furthermore, additional sound sources outside of the composition, derived from live inputs or virtual instruments, can be utilized to manipulate the visualization.

It must be noted that the audio framework JUCE was utilized to create this software


Week 3 Assignment: Visual Manipulation via FFT. October 1, 2020.

Glitch Project with P5.js

The third week of class pertained to an FFT analysis of an incoming audio signal. Regarding the in-class demonstration, GLITCH was utilized in conjuction with P5.js.

In accordance with the lecture, we students were tasked to utilize the P5.sound library FFT to animate a visual component. The embedded video demonstrates my work through the creation of rotating boxes, where each sequential primitive rotates faster than its former. Furthermore, the brightness and size of the box are increased in accordance with an averaged value derived from the amplitude of 4 sequential buckets (frequency bands).

The following link contains my code:

GLITCH PROJECT


Week 2 Assignment: Visual Manipulation via RMS. September 17, 2020.

Glitch Project with P5.js

The second week of class delivered instruction towards the utilization of the online collaborative environment GLITCH in conjuction with P5.js. Furthermore, information within this lecture highly pertained to the handling of a microphone's input values towards the manipulation of visual components.

Regarding the week's assignment, the linked video contains a demonstration of grabbing an incoming (microphone) signal's calculated RMS values and applying them towards numerous arcs' (x80) heights. Additionally, a mask (four triangle) was applied within the project to further shape the mentioned arcs. It must be noted that this particular work is a "remix" of the instructor's project.

The following link contains my code:

GLITCH PROJECT


Synethesia: Video Review. September 10, 2020.

SCNHITT - MEMORY CODE | ECHOIC MEMORY

Upon reading the provided article within DIGITAL SYNESTHESIA, it became apparent that my ability to digest academic papers is lacking. The experience brought memories of late night studying during my undergraduate studies at UC San Diego, where papers of this nature were required course readings. With that said, this article provided a fascinating outlook on medium aesthetics derived from synesthetic experiences for us non-synesthetes.

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The instructor's linked videos provided a diverse range of works revolving around this area of study. However, SCHNITT's ECHOIC MEMORY appeared to resonate with my artistic taste regarding works tying visuals with musical pieces. Furthemore, the visual component of this work personally granted an easily digestible representation of the aural component. Though, perhaps this notion is heavily influenced by my lifelong experiences in music and audio.

Regarding synesthetic properties, the overall dynamic of the musical component was tightly visualized through the projected visualization onto the installation's surface. More specifically, the audio's variations in spectrum (utilized frequencies) throughout time had a corresponding splatter of light saturation and spread. As a general statement, when the dynamic intensity increased, the amount of visual projection also increased. Regarding the visual component's color, perhaps the sole utilization of the green hue could be perceived as a reflection of the music's minimalist characteristic.

It must be noted that experiencing this piece in a separated aural and visual manner individually provided musicality and movement through time in a pleasing manner. The mentioned aspect of minimalism and overall dynamic with each component were evident within both individualized experiences. However, this personal perception could have been easily influenced through the initial experience of tied aural and visual parts. In light of this notion, I am considering future viewings of recommended works in this separated manner.


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