I'm colliding baby, i'm colliding

Want to hear winchimes but live in an area with no wind?

Want to hear music but sick of tonal chord proggressions?

Want to hear some sinewaves?

WANT TO LONGER!


Is it a bird? Is it a plane? Or is it...



The Colleidoscope! On a Collision course to COLLIDERTOWN! Now with collidervision and sound, in 1.1 mono (and with no visual). Prepare to be collided... the oldschool way.

In the beggining people were just colliding by hand. It was a slow, tedious process that led to much frustration and wasted energy. Then, somebody had the idea of making colliding a digital process and invented Collider, a sequence of digital processes that synthesizes colliding inside the computer! Collider made an impact, as expected, and its owner Bill Tocollide became a billionare within hours of its release. But something was wrong... while the program was colliding, it was not SUPER colliding. This problem was addressed in 1987 when Sony, Microsoft and BMW (SMB for short) joined forces in an effort to create the next logical step in Collider's evolution. With plently of resources and the leading scientists at NASA leading the charge, Super Collider 1 was finally released. To say it made an impact on the music world would be like saying John Cage was only a "pretty cool" guy. The shockwave experienced after its release changed music forever, like Cage changed his clothes every day. And boy, were they some clothes...

SMB enjoyed the financial compensation for this epic discovery, but the tensions between segments within the company grew. Those more interested in music and the entertaining power of Supercollider wanted to build a collider that could not only collide, but be enjoyed by the whole family in 3d graphics plugged into a TV. They wanted to release "Colliding station". The programers in the company wanted to release "Collider '95", a Colliding program that would come with every new computer and feature a free internet browser, "Collide Arouser". The third section of SMB wanted to make high quality European cars instead. So the company split appart, into Sony (who went on to create the Playstation based on its colliding concepts), Microsoft (who created Windows 95 and Internet Explorer as a way to share colliding projects with other enthusiasts around the globe) and BMW, who went on to make European cars.

The company that took over was Machintosh, a contaminated apple company somewhere in France. Machintosh wanted a collider that could not only Supercollide, but Supercollide 2. After many failed attempts Super Collider 2 was finally released.

Its welcome was as expected, and even cinemas sold out their special "SuperCollider 2" 3 hour previews. In 1991 an enthusiastic John Cage got hold of the SuperCollider 2 concepts, and, in an effort to mix the new, digital Supercollider 2 with original analogue concepts of colliding by hand, created Supercollider 3. The new collider offered unprecedented sound quality, and due to its construction could make sinewaves as pure as John Cage's concepts. It also included a random function.

Supercolider 3 is often taught in musical institutions as an alternative to colliding by hand, or composing real music.

It is with this program that I made the following piece:

http://www.box.net/shared/c4si2hu49v



The work uses 4 sinewave synths that either add notes above or bellow the note currently playing. The choice it makes of the next note is a weighted random value, so for example in the semitone synth there is a 25% that the next note will be a semitone up or down, 17% that it will be 2 semitones up or down etc. up to about 5-6 notes. There is also a chance the note repeats. In addition, the longer the synth has been playing the more chance the notes have of not playing at all, or playing (if the synth started silent). The song uses these 4 random note synths layered on top of each other (towards the middle you will hear about 7 semitone synths playing almost 10 notes a second each). The synths also play at different speeds.


May this collide with your soul as my soul collided with this program.


Also check out

http://uncyclopedia.org/wiki/Supercollider

My contribution to uncyclopedia.

Cheers to Ben for pointing it out to me!

Mastering Exercise

http://www.box.net/shared/anxmm0mdh5
(mastered)

As opposed to:

http://www.box.net/shared/mytyldcb9q
(original)


This is the result of the mastered version of my song. I am fairly happy with it, considering when I started I did not expect to get anything too solid from the process. But I think the file selecting had a lot to do with it too. Because it was so weak, it was easy to EQ and compress without distorting, something that cannot be said for my previous master attempt. Because it was totally electronic, it was also free of distortion, and this made it unnecessary to try and iron out "mistakes" from the recording process.

Basically I made 2 copies of the file and treated both fairly separately. In one I boosted the low end as well as a narrow Q around the 100 hz mark for the bassdrum, as well as the mid highs and highs. I also compressed and stereo imaged it a bit (narrowed the highs and left lows alone). It sounded powerful but lacked the snare punch. For this, I treated the second copy. I EQ'd the mid highs and mids to around the area of the snare, but was carefull to take out a narrow band where the a synth stood (around 1000 hz). I also compressed it a lot harder so the snare stood out more.

In addition to these 2 tracks, I also mixed in the original track at a lower volume to try and give it a bit of life. The main issue with 3 identical tracks is phasing but because the tracks were treated so differently, this is not too obvious to my ears, and the powerful sound more than makes up for the small amount of phasing that could be present. I think it's a decent attempt, not fantastic but definately better than my last and somethign I'm happy with. Enjoy!