junkspace - differance · junkspace “if space-junk is the human debris that litters the universe,...

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For Banjo and Electronics Performed by Philippe Pannier

Recording, Post-Production and Editing realised by Sam BrittonComposed by Sam Britton

JUNKSPACE

“If space-junk is the human debris that litters the universe, junk-space is the residue mankind leaves on the planet. Junkspace is what remains after modernization has run its course or, more precisely, what coagulates while modernization is in progress, its fall-out. Modernization had a rational program: to share the blessings of science, universally. Junkspace is its apotheosis, or meltdown... Although its individual parts are the outcome of brilliant inventions, lucidly planned by human intelligence, boosted by infinite computation, their sum spells the end of Enlightenment, its resurrection as farce, a low-grade purgatory...

Because it is so intensely consumed, Junkspace is fanatically maintained, the night shift undoing the damage of the day shift in an endless Sisyphian replay. As you recover from Junkspace, Junkspace recovers from you: between 2 and 5 am, yet another population, this one heartlessly casual and appreciably darker, is mopping, vacuuming, sweeping, toweling, resupplying... Junkspace does not inspire loyalty in its cleaners... Dedicated to instant gratification, Junkspace accommodates seeds of future perfection; a language of apology is woven through its texture of canned euphoria; ‘pardon our appearance’ signs, or miniature yellow ‘sorry’ billboards mark ongoing patches of wetness, announce momentary discomfort in return for imminent shine, the allure of improvement. Somewhere, workers sink on their knees to repair faded sections - as if in a prayer - or half-disappear in ceiling voids to negotiate elusive malfunction - as if in confession...”

Rem Koolhaas

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Choice Of Instrumentation And Exploration Of The Sonic Possibilities Presented By The Instrument.

I chose the Banjo for the distinct sonic possibilities it presented as an instrument. In particular, I was struck by the fact that the drum skin sounding box has the effect of destabilising the sound of the strings, introducing many different sonic artefacts which can be amplified and explored through different modes of playing. The exploration of these diverse sonic artefacts became the starting point for the composition. I initially catalogued as many of these as possible through recording sessions and then began a process of analysis using computer software tools to interrogate and classify sonically these artefacts.

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1. Sonic analysis of the first 70ms of a plucked harmonic note, showing the initial series of modulations in the frequency spectrum created by the resonance of the drum skin.

2. Transcription of the partial modulations caused by the drum skin on harmonic notes, forming the basis for melodic and harmonic themes in the piece.

3. Principal chords used in the piece as derived from the analysis and transcription

-4-

4. Categorising different modes of playing using multidimensional sonic feature extraction and display.

Each window shows how a recording of the banjo can be split into sections and represented as points in a two dimensional space.

The recording can effectively be mapped according to different sonic parameters, for example; pitch and loudness. In all there are 11 such descriptors embodied in the software¹ allowing sound to be classifi ed in many diverse ways.

The mapping of recordings in this way and the use of specifi c psycho-acoustic measurements and algorithms for feature extraction allowed me to build up a rich knowledge of each of the individual states passed through in an improvised recording.

It was then possible to re-assemble, through a process of sound mosaicing a desired compositional theme as extracted from the recordings.

Finally, this process was controlled directly by algorithmic and generative compositional processes.

-5-

Certain dense portions of the recorded performances resisted precise categorisation and it became necessary, for the purposes of compositional accuracy to split polyphonic sounds, allowing them to be correctly identified and categorised for re-composition. In order to do this I made use of non-negative matrix factorisation for polyphonic signal decomposition². This is a system whereby the harmonic properties of the recordings are identified in the frequency domain by certain templates. The computer analyses and creates these templates and then splits the recording into the desired number of sub-recordings based on the filtering of the recordings using these templates. This process also became extremely useful for splitting dense sound events in the final piece and spatialising them.

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2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 129 130 131 132 133 134 135 136 137 138 139 140 141 144 145 146 147 148143 149 150 151 152 153142

2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 129 130 131 132 133 134 135 136 137 138 139 140 141 144 145 146 147 148143 149 150 151 152 153142

2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 129 130 131 132 133 134 135 136 137 138 139 140 141 144 145 146 147 148143 149 150 151 152 153142

Diagram showing the final form of the whole piece as composed using the various techniques previously described.

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The process of re-scoring the piece from the re-composed recordings

-8-

Screenshots of the various abstractions used to realise the electronic part of the piece in Max/MSP using FTM and Gabor³. These included signal feature extraction (including phoneme segmentation) determining parameters for granular synthesis, ring modulation, waveform synthesis, pitch and frequency shifting.

-9-

Technical Schematic

Computer: Apple Macintosh G5 dual 2Ghz or faster with at least 4Gb of RAM and running Max/MSPSoundcard: RME Hammerfall DSP system or equivalent quality.

Instrument Microphone AKG 414-XLS

Omnidirectional polar pattern

Laptop On-Stage iMac or Powerbook 800MHz or faster running Max/MSP - for relay of timings to performer via OSC

Ethernet or Airport connection via two computers

Mixer: Yamaha O2R or equivalent quality

ADAT lightpipe or 8x audio connections via mixer and computer

Loudspeakers8x Mackie SRM-450 with Sub-bass units or better.

Stage

-10-

For this piece a 5 string banjo is required with at least 24 frets, The piece was premiered by Philippe Pannier at IRCAM in Paris on the 14th October 2006, using a Deering ‘Boston’ banjo tuned as follows:

The Instrument:

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indicates a natural harmonic, to be played on the string indicated below the note (circled) and at the position along the fretboard indicated above the note.

indicates that the note should be plucked vigorously so that it snaps back against the fretboard producing a percussive attack. Commonly referred to as a ‘Bartok’ pizzicato.

indicates that the note should be played whilst lifting the string slightly off the fret so as to produce a buzzing sound.

indicates that the note should be played while two strings are crossed (the strings to be crossed are indicated below the note), creating a bell like dissonant sound.

indicates muted notes, to be played at the specified pitch.

indicates artificial harmonics, where the note indicated is transformed into a harmonic by means of placing a second finger infront of the note.

indicates that the note should be bent up or down in pitch by the correspond-ing amount.

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The score makes use of two special types of staff; the ‘drum’ staff and the ‘fretboard’ staff. The use of the ‘drum’ staff is described below and the ‘fretboard’ staff on the following page.

The Drum Staff:

The ‘drum’ staff indicates actions to be performed on the skin of the banjo drum by the player. The lines on the staff correspond to movements to be traced on the surface of the drum suing the fingers.

Dotted lines indicate that the movement should be performed using the tips of the fingers or knuckles.

Solid lines indicate that the movement should be performed using the fingernails.

Striped lines indicate a fast tremelo action performed with the fingernails.

Stars indicate that the skin of the banjo should be flicked.

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In figure B, we also see the indication ‘L.H. frappe’. This indicates that while picking of the strings with the right hand, the left hand should be ‘hammered’ on and off the fretboard, modi-fying and accenting the picking rhythm.

The Fretboard Staff:

The fretboard staff reproduces the entire length of the instrumats fretboard and is use to specify fingering articulations of chords and notes.

In figure A, chord indications are given in the normal staff and any articulations to be performed on each chord are then given in the fretboard staff. The chords specify the begining notes to be used and the duration of the articulation. This is then accompanied by a precise picking technique to be used with respect to each chord. In this case a raguaedo technique is applied to the last chord of each phrase in the manner specified.

fig. A fig. B

In figure B, chords are no longer given in a normal staff, but starting chords are indicated by letters in triangles at the top of the staff. These letters correspond to specific principle chords used in the piece and must be learnt. The fretboard staff then indicates both how the chord is to be articulated along the fretboard and the rythmic gesture that should accompany this articulation. The picking technique to be used is still indicated at the top of the staff and the rythmic indications therefore serve as an indication of accenting and volume.

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Appendix

1. (p4) - The software referred to here is a customised version of Diemo Schwarz’s ‘CataRT’ implementation of Concatenative synthesis within Max/MSP. This software was re-designed and re-implemented by the author with the help of Diemo Schwarz at IRCAM. For more information on Diemo Schwarz’s ‘CataRT’ and his scientific papers concerning Concatenative synthesis see:

http://concatenative.net/

2. (p5) - The implementation of NMF referred to here was created by Remy Muller at IRCAM after research conducted by Arshia Cont at IRCAM. For more information see:

http://crca.ucsd.edu/arshia/ http://recherche.ircam.fr/equipes/temps-reel/movement/muller/static.php?page=static060215-214543

3. (p8) - FTM and Gabor are framework extension libraries to Max/MSP developed and maintained by the real-time applications team at IRCAM. For more information see:

http://recherche.ircam.fr/equipes/temps-reel/maxmsp/index.html

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