aka PAM, the Parochial Audio Messenger. An off-spring of Jens Brand‘s Global Player project where sound is generated based on the earth’s topography. Rather than following satellites, here the track is derived from the phone number the visitor dials, which points to the target location. The resulting sound is played to both ends of the phone line.
What’s the sound of a giant turntable needle scratching across the earth’s surface? Find out by listening to the G-Player4 where satellites are tracked in realtime to mark a path across a world-wide topography. Data (altitude samples) from the SRTM Space Shuttle mission (2000) is interpreted 1:1 as audio data (amplitude samples).
Sound track for a ‘line-flicker’ video, generated by feeding the line patterns directly into an iFFT.
Computer aided score generation of Balinesian Gender Wayang music, based on multi-channel envelope recordings. The recording system required a custom acquisition system as multi-channel audio interfaces were not available in the early 1990s. It was implemented by Thomas Ruoff and Pierre Dutilleux at FH and ZKM, Karlsruhe. I was involved in the later stages that dealt with the analysis of the accumulated data. Most of this was done in Matlab and its signal processing toolbox. Finally, a custom notation system was devised to take the specific playing styles into account.
Traguisma – the TRAnsient GUItar State MAchine. Or, if you prefer the official title: ‘Algorithms for Combined Sound Analysis and Synthesis and their Implementation in a Multi-Processor Environment’.
This was to become a ‘Diplom-Informatiker’, my graduation project. In short it was about improving guitar synthesizer, with a focus on the attack phases of a pluck, in particular re-plucking a string that’s already vibrating.
The intended target platform was GWIZ’ Infinity Box, but as this project was cancelled, I implemented it on CNMAT’s multi-DSP box Reson8.
Here’s the PDF