Composition for Computer Plus

David Scully
0748323 Faculty of Science and Engineering Department of Computer Science & Information Systems University of Limerick

BSc in Music, Media and Performance Technology Submitted on day month year

1. Supervisor: Dr. Kerry Hagan Digital Media and Arts Research Centre University of Limerick Ireland

Supervisors signature:

2. Second Reader: Mr. Giuseppe Torre Digital Media and Arts Research Centre University of Limerick Ireland

Second Readers signature:

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Abstract

This project aims to expand the musical possibilities an electric guitar can accomplish through digital sound processing and routing of the guitars output. The guitar itself has been augmented with polyphonic pickup technology, called a Hexaphonic Pickup. This can allow for further manipulation and analysis of the guitars output more so that when working with a traditional monophonic pickup system. The composition for this project will utilize a surround sound set up with each string of the guitar routed to dierent loudspeakers. An exploration into the most suitable arrangement for routing sound sources has been done. The composition will include a backing track which will also have the various instruments routed to dierent speakers around the audience. The guitar signal is manipulated in the Max/MSP environment to achieve new possible sound processing. The backing track accompanying me for the performance was programmed using a variety of plugins and VSTs in the digital audio workstation, Reaper.

Declaration

I herewith declare that I have produced this paper without the prohibited assistance of third parties and without making use of aids other than those specied; notions taken over directly or indirectly from other sources have been identied as such. This paper has not previously been presented in identical or similar form to any other Irish or foreign examination board. The thesis work was conducted from year to year under the supervision of Dr. Kerry Hagan and Mr. Darragh Pigott at University of Limerick.

Limerick, 2013

Acknowledgements

I would like to thank: My supervisor Dr. Kerry Hagan for her guidance, expertise and communication with me throughout this project. Fellow colleagues for their helpful comments and knowledge in audio processing. Darragh Pigott, for helping me organise the purchase of the hexaphonic pickup and his help in setting up the surround system for practices and the performance. My father for his engineering knowledge and help with the problems I encountered with the hardware. The rest of my family for their support and encouragement they have given me throughout my educative years. Finally, I would like to thank all the musicians and engineers I have ever listened to, they have helped inspire me to compose music and delve into the eld of audio/visual production which I am learning more of everyday.

I would like to dedicate this composition to everybody I know, friends, family, colleagues and lecturers.

Contents
List of Figures 1 Introduction 1.1 1.2 1.3 1.4 1.5 Project Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . Aims and Objectives . . . . . . . . . . . . . . . . . . . . . . . . . Motivation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Methodology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Thesis Outline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . v 1 1 1 2 3 3 5 5 5 6 7 8 8 9 9 11 13 13 13 14 14 Johnny Greenwood . . . . . . . . . . . . . . . . . . . . . . Eric Calderone . . . . . . . . . . . . . . . . . . . . . . . . Jerry Gerber . . . . . . . . . . . . . . . . . . . . . . . . .

2 Historical review 2.1 Technology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2.1.1 2.1.2 2.1.3 2.2 2.2.1 2.2.2 2.2.3 2.3 Max/MSP/Jitter by Cycling 74 . . . . . . . . . . . . . . . Digital Audio Workstations (DAWs) . . . . . . . . . . . . MIDI and Virtual Sound Technology (VSTs) . . . . . . . . Classical . . . . . . . . . . . . . . . . . . . . . . . . . . . . Pop and Rock . . . . . . . . . . . . . . . . . . . . . . . . . Progressive and Electronic . . . . . . . . . . . . . . . . . .

Compositional techniques . . . . . . . . . . . . . . . . . . . . . .

Surround Sound . . . . . . . . . . . . . . . . . . . . . . . . . . . .

3 Research 3.1 Composers working with computer technology . . . . . . . . . . . 3.1.1 3.1.2 3.1.3

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CONTENTS

3.1.4 3.1.5

Enda Bates . . . . . . . . . . . . . . . . . . . . . . . . . . Andreas Paolo Perger . . . . . . . . . . . . . . . . . . . . .

15 15 17 17 17 18 19 20 22 22 24 24 25 26 33

4 Creating the set up 4.1 The Guitar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4.1.1 4.2 4.3 Hexaphonic pickup . . . . . . . . . . . . . . . . . . . . . . 4.1.2 Audio Interface . . . . . . . . . . . . . . . . . . . . . . . . Max/MSP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Surround Sound Array . . . . . . . . . . . . . . . . . . . . . . . .

5 Description of Composition 5.1 Approach and Techniques . . . . . . . . . . . . . . . . . . . . . .

6 Conclusions and Future Directions 6.1 6.2 Conclusions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Future Work . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Appendix A: Insert gure in Appendix References

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List of Figures
1 2 3 4 5 6 7 8 Max Guitar Processor . . . . . . . . . . . . . . . . . . . . . . . . Presentation Mode . . . . . . . . . . . . . . . . . . . . . . . . . . Arrangement of speakers . . . . . . . . . . . . . . . . . . . . . . . Screenshot of Logic . . . . . . . . . . . . . . . . . . . . . . . . . . Screenshot of the Reaper environment . . . . . . . . . . . . . . . Pickups from Ubertar . . . . . . . . . . . . . . . . . . . . . . . . . Ibanez 370DX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Back of Guitar . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 27 28 29 30 30 31 32

1 Introduction

1.1

Project Summary

This paper discusses the main concepts and processes involved for creating a composition with a spatialized electric guitar that utilizes the power of a computer to create the sound output and route the guitars strings to individual loudspeakers. The project deals with the development of an augmented guitar setup, which uses a hexaphonic guitar pickup to allow control over each individual string on the guitar. Software will be used to achieve dierent sounds, eects and control parameters which will be used during a performance, alongside a surround sound backing track created for this project.

1.2

Aims and Objectives

Many musicians turn to technology as a means to achieve new inspiration for their performances and compositions. For guitarists, this often means experimenting with new eects pedals, electronic modications, or extended playing techniques. For example, one could use an EP2 Envelope Phaser(Envelope Phaser n.d.) to achieve new patterns in the sound, or by replacing the classic guitar pick with an Ebow(The Amazing EBow :: Home n.d.) one can re-establish the guitars Attack, Decay Sustain and Release (ADSR) characteristics. The idea of a player having

1.3 Motivation

spare bandwidth was discussed in Cooks paper (Cook 2001) and has led to the popularity and development of such creative measures. What this entails is that when a musician is so familiar with the technical processes involved in playing their music, they can aord to apply their attention elsewhere. It is this idea of expanding the guitars sonic capabilities that has driven the author to do this project. With the ever increasing power of the personal computer, it is now possible to achieve such eects processing units capabilities by processing the guitar in the digital realm. The composition for this project will be created solely on the computer and also to manipulate the guitars individual strings sound output in a live performance setting, thus saving the hundreds of Euros needed for similar eect processing. The computer has the ability to interface with many external devices on the market today. Audio interfaces are allowing for more possibilities for users to connect their favourite instrument to the computer. Some audio interfaces have many inputs and outputs and can accommodate many signal ows at one time with very little latency issues. For this project, the author is exploring the eects of separating each of the electric guitars strings output and produce a similar experience for the audience as they would nd in any other surround sound environment. So the questions that arose at the start of the project were: How can one expand the guitar? What are the musical possibilities?

1.3

Motivation

The motivation behind this project was the interest of working with popular music and using computers to aid in the processing of the electric guitar and to showcase a novel approach to create a surround sound experience for the listeners. As will be mentioned later in the research section, various composers have created musical pieces with the aid of a computer and this led the author to explore creating a track with a virtual ensemble purely using the personal computer. Utilizing some

1.4 Methodology

free VSTs one can recreate violins, cellos, etc., by sending MIDI parameters to them within a DAW. Many musicians are now able to realize their music without having to physically possess the numerous instruments to which they require.

1.4

Methodology

To expand and open up the guitar, the author started to look at hexaphonic pickup technology. This approach would lead to many dierent musical possibilites. For example it is possible to have multiple digital eects on dierent strings, enable a string to become a controller to aect parameters and not have an output, or the strings could be panned in a surround sound space. For this project, the author will explore all these dierent avenues for expanding his musical horizon and bring forth a new type of composition.

1.5

Thesis Outline

The remaining chapters of this dissertation are as follows: Chapter Two will discuss the research of guitarists working with computer technology carried out during this project. Chapter Three is a brief historical review of the technology, compositional techniques, and surround sound. Chapter Four presents the creating of the system to be used in the live performance. Chapter Five describes the composition. Chapter Six draws conclusions and evaluates the system used. Lastly, it suggests possible future works.

Appendix shows the gures pointed to in this paper. .

Attached to this dissertation is a DVD containing the following items: folder 1 : The Max/MSP patches and a pdf version of the report.

1.5 Thesis Outline

folder 2 : The stereo and surround sound les.

2 Historical review
2.1 Technology

The history of the technology in audio processing and recording, from a digital stand point, dates back about 50 years. A review into the history of the various technological elements used in this project are discussed below and is interesting to see how computers, audio generation, audio interfaces, electric guitars, computer software, etc., have evolved in such a short period of time.

2.1.1

Max/MSP/Jitter by Cycling 74

After connecting all the signals to the audio interface and connecting that to the computer, it is now possible to process and manipulate each signal independently or in groups of strings using digital sound processing software. The software chosen for this project was Cycling 74 Max/MSP (Max 5) because the author is most familiar with this programming environment. Max is a visual programming language for music and multimedia developed and maintained by San Francisco-based software company, Cycling 74. The Max environment has been around for about 20 years, and it has been widely used by composers, performers, software designers, researchers, and artists for creating innovative recordings, performances, and installations. Max was originally written by Miller Puckette in the mid- 1980s and its name

2.1 Technology

pays homage to Millers inuence Max Matthews. It was rst used in a piano and computer piece called Pluton (written by Philippe Manoury in 1988), synchronizing the computer to the piano and controlling a Sogitec 4X, which performed the audio processing. Max has a number of extensions and incarnations; most notably, a set of audio extensions to the software appeared in 1997, derived in part from Puckettes subsequent work in Pure Data. The add-on package, MSP for Max (short for either Max Signal Processing or the initials of Miller S. Puckette), allowed for the manipulation of digital audio signals in real-time, allowing users to create their own synthesizers and eects processors. A major update was released in 2008 for Max/MSP/Jitter, Max 5, which included a revamped user interface and new objects. Then in November 2011, Cycling 74 released Max 6, which saw further improvements to the user interface and a new audio engine compatible with a 64-bit operating system.(Max at Seventeen 1 n.d.) The author of this paper however has not had the chance to use Max 6 so will be looking into obtaining it in the near future to see what it has to oer, especially with the new [Gen] object. This new object can be more ecient to achieve similar processes as previous Max/MSP/Jitter objects. It uses text based expression language (codebox) and allows for the design of algorithms that can run on the GPU or CPU, on Windows or Mac. A few patches found online has helped with the design of the patch used for the performance. Darwin Grosse uploaded a tutorial detailing how he achieved a Guitar processor in Max/MSP(Max 5 Guitar Processor, Part 1 Cycling 74 n.d.). This patch provided ideas of the sounds possible and a guide as to how to achieve them (See gure 1). Other inspiration came from Joel Rich, who demonstrates how he achieved a Johnny Greenwood eect, known as the Stutter Eect(ax/MSPMAX/MSP Tutorial HD - Jonny Greenwood style stutter eect - YouTube n.d.).

2.1.2

Digital Audio Workstations (DAWs)

The two main DAWs used in the creation of this composition were Cockos Reaper and Apples Logic Pro. The reason behind using these two was simply the availability of them. The full version of Reaper can be downloaded for evaluation with

2.1 Technology

no time-limited features. After the evaluation time has expired however you can purchase either a full commercial license for $225 or a discounted license for $60 if you plan on using it commercially (EAPERREAPER | Audio Production Without Limits n.d.). This was the best DAW found by the author for a Windows PC as it oers so much versatility and ease of use. Using a computer and no other software you can import any audio and MIDI, synthesize, sample, compose, arrange, edit, mix, and master songs or any other audio projects. You can add hardware such as audio interfaces (AD/DA: analog-to-digital/digital-to-analog) and connect a microphone for a complete recording studio, suitable for recording anything from a soloist to an orchestra. There are inexpensive audio interfaces designed just to plug guitars in to, and there are very fancy audio interfaces designed to convert many simultaneous line and microphone inputs like the MOTU Ultralite used in this project. Logic Pro is a digital audio workstation and MIDI sequencer software application for the Mac OS X platform. Originally Logic was created by the German software developers Emagic, this company was later bought by Apple in 2002 and Logic Pro became an Apple product. Logic Pro is part of Apples Logic Studio bundle of professional music applications. Logic Pro oers software instruments, synthesizers, audio eects and recording capabilities for music synthesis.(Logic Pro 9 User Manual: Welcome to Logic Pro n.d.) Logic Pro can work with MIDI keyboards and control surfaces for input and processing as well as oering MIDI outputs. The cheaper version of Logic Pro is Logic Express which sports the same user interface and much of the functionalities of Logic Pro but can only work with a two-channel stereo mix, while Logic Pro can handle multichannel surround sound. This project utilized this surround sound function for the composition to achieve the desired panning and localization of the various instruments of the backing track.

2.1.3

MIDI and Virtual Sound Technology (VSTs)

In the composition for this project the author wanted to explore the use of MIDI (Musical Instrument Digital Interface) to create the notes for various instruments.

2.2 Compositional techniques

With the large amount of VSTs, available both on the market and for free online, it is possible to recreate an entire orchestra ensemble by just using MIDI commands to play the VSTs. A lot of time went into nding good, free VSTs which sounded as close as possible to the original sound of the instrument being emulated. Since MIDI can carry event messages that specify notation, pitch and velocity, and other control signals, it allows for full control over the sonic qualities oered by VSTs. This project uses VSTs to simulate the sounds produced by a piano, violin, viola, bass guitar, strings, cello, drums, and a synthesizer. The only real instrument recorded and heard in the performance is the electric guitar.

2.2

Compositional techniques

Compositional techniques are the methods used to create music. A number of useful skills in composing include writing musical notation, music theory, instrumentation, and handling musical ensembles (orchestration). Other skills include techniques such as improvisation, musical montage, preparing instruments, using non-traditional instruments, and other methods of sound production.

2.2.1

Classical

What is referred here by classical is the Western music from the 16th century on. The term of classical music appeared in the early 19th century. It was an attempt to label the period from Johann Sebastian Bach to Beethoven. The common practice period is when many of the ideas that make up Western classical music took shape, standardized, or were codied. It began with the Baroque era, running from roughly 1600 to the middle of the 18th century. The Classical era followed, ending roughly around 1820. The Romantic era ran through the 19th century, ending about 1910.(Intro to Classical Music n.d.) Like all types of music, classical music continues to develop still today. The period of classical composition beginning from around 2000 has been designated 21st-Century Classical Music. Many classical artists today agree that classical music has become too diverse to categorize. Musical styles has been evolving over the years, from the simplicity of the Gregorian chants from Medieval times transformed into the

2.2 Compositional techniques

complex and ornamental lines and counter points of the Baroque period. This then led to the emergence of simple melodies and phrasing of the Classical period. This was followed by the Romantic period where the music tapped into emotion and fantasy. The music of the Baroque and Classical eras can be classed as Structural Music where personal and emotional responses are minimal but the listener is engaged in the evolution of the theme by the use of complex notes and the relationship between them. (History of Classical Music - Eras n.d.)

2.2.2

Pop and Rock

This section will be an overview of most types of popular Rock music, from Rock and Roll, Hard Rock, Metal, Melodic Metal, etc. There are a few fundamental techniques used in these musical styles. Changing the key of the piece during the song can add tension or change the feel of that part of song e.g. Bon Jovis Living on a Prayer. This is also the reason why tempo changes are used and these can lead to a more engaging listening experience. Most Rock music these days take inspiration from other genres such as Classical. This clash of musical styles can be heard from the band Metallica for example to great eect. Various techniques have arisen for Rock guitarists since the late 70s. The major player of the scene would be Eddie Van Halen with his popularization of the two-handed tapping technique and the dive-bomb eect with the whammy bar. There is usually a basic formula for constructing a Rock song. An example of this would be: (intro)ABABCAB(end) where A is your verse, B is your chorus and C is your solo/bridge.

2.2.3

Progressive and Electronic

Throughout the the mid to late 60s and 70s Progressive rock started to hit the music scene. Originating in the United Kingdom, musicians started to explore the psychedelic side of music. Drugs such as marijuana and LSD was becoming popular amongst musicians and they said that it enabled them to see and hear more of the music.(Progressive Rock - Denition, Genres & Articles n.d.) Progressive rock is categorized by a sacking of traditional song structure, introduces complex rhythms and odd time signatures. Progressive rock allows for pure creativity in a

2.2 Compositional techniques

musical sense and usually incorporates various electronic elements to add futuristic sounds to the piece. Pink Floyd are the one of the most popular Progressive rock bands with concept albums such as The Dark Side of the Moon(1973) and Wish You Were Here(1975).

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2.3 Surround Sound

2.3

Surround Sound

This section will look at the various commercial multichannel surround sound systems available. To start o, there is four-channel surround. 3-1 stereo or LCRS surround is similar to the previous three-channel stereo. An additional surround channel is added to the three-channel stereo, this additional channel is routed to a loudspeaker usually placed behind the listener. This is the original Dolby Pro Logic format(Logic Pro 9 User Manual: Welcome to Logic Pro n.d.), and this system was developed rst for a cinema environment. Quadraphonic reproduction uses four loudspeakers in a square arrangement, which are at the four corners of the listening space, this arrangement consists of two front loudspeakers, left and right, and two rear loudspeakers, back left and back right. The 5.1-channel surround system is the most popular in use(Ultimate surround sound guide: Dierent formats explained | Digital Trends n.d.). It is essentially a 3-2 stereo setup with three front channels with two rear/side channels. The three front channels give a three-channel stereo sound image, while the two rear speakers provide the supporting ambience, eects or room impression(Rumsey and Mccormick 2006). The .1 unit of the 5.1 corresponds to the dedicated low frequency eects (LFE) channel, which is routed through a sub-woofer. This delivers only bass information and is usually less than 120 Hz.(Dolby 5.1-Channel Music Production Guidelines - 5.1 Channel Music Production Guidelines.pdf n.d.) For this project a 6.1-channel surround system will be used for the performance. It is similar to the previous 5.1 system but with the addition of a surround channel. This channel is routed to a loudspeaker located directly behind the listener. The 6.1-channel audio is now a common option for a surround format(Understanding Surround Sound Formats n.d.). A 6.1 system has a more powerful envelopment eect than a 5.1 system, as sound energy from behind the also inuences the sensation of envelopment(Furuya et al. 2001). This system is eective for this project as it allows for each string of the guitar to have its own dedicated speaker.

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2.3 Surround Sound

Other systems that can be implemented for dierent situations include 7.1, 9.1, 10.2, and even up to 22.2 but for the purpose of this project need not be discussed in this paper.

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3 Research
This section will look at the technologies and approaches researched by the author into this eld of experimentation. A discussion of the reasoning behind the decisions reached by the author regarding each area of importance is presented below.

3.1

Composers working with computer technology

3.1.1

Johnny Greenwood

Johnny Greenwood, the guitarist of the band Radiohead, has been a long-time fan of using computers to enhance his compositional techniques and approaches. Greenwood is experimenting with interactive programs like Max/MSP. However, he thinks it is unlikely that he will be producing solo computer music as he told Computer Music Journal in 2004. The idea is that taking a laptop o a shelf is like picking up a guitar or an organ. Newer technology, but not better, just dierent. Having said that, I cant imagine using it alone. When we play the song Gloaming live, the laptop takes over for the end section, using a Max/MSP patch which steals sections of whatever everyone else is doing, and carries on when they all stop. But I dont use laptops for

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3.1 Composers working with computer technology

generating sounds very often, mainly sound manipulation and MIDI generation. I prefer generating sounds other way. Ive always felt uncomfortable having to use other peoples software to make music. However limitless sequencers, audioeditors, and plugins claim to be, you still nd yourself being forced, however subtlely, to work in certain ways. My copy of Emagic Logic insists on looping the rst four bars whenever it can (although its good software in lots of ways) With Max/MSP I nally got to think about sound and MIDI, and their manipulation, in a much purer way I felt that all direct contact with computers had been taken away from me, until I found Max/MSP. (Radiohead At Ease | Jonny interview in Computer Music Journal n.d.)

3.1.2

Eric Calderone

Eric Caledrone has become a Youtube sensation ever since he started doing his series of ....Meets Metal in which he takes popular music and plays them in a metal context.(Erock | Shredder Home of Eric Calderone n.d.) He was the inuence for using the various VSTs to obtain many instruments to accompany in the composition for this project. It opened up a whole new world of possibilities for composing this author had never realized. He uses Apples Logic studio to create his orchestration and the plugin superior drummer for the drums, all of which he programs/plays himself. Eric connects his guitar to a Line 6 audio interface and runs the VST, Guitar Rig 5, in his DAW to achieve his various guitar tones.

3.1.3

Jerry Gerber

Jerry Gerber has written orchestral and chamber music, songs, piano music, vocal music and music for electronic instruments. He has composed for lm, television, computer games, concerts, dance and interactive media, and wrote all of the original music for the remake of the popular childrens television show, The Adventures of Gumby. He uses computers to compose, interpret, produce and record music. The DAW he uses is Cakewalks Sonar to sequence, compose, orchestrate and mix his compositions.

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3.1 Composers working with computer technology

I use software synthesizers like Tera or Massive orchestrated with acoustic instrument samples, including orchestral instruments, choirs and individual vocal samples.(Composers and Computers n.d.)

3.1.4

Enda Bates

As discussed earlier, reading Enda Bates paper Adapting polyphonic pickup technology for spatial music performance(EndaBates-HexGuitar-ICMC08paper.pdf n.d.) was the initial inuence for this project. The use of polyphonic technology for the electric guitar was new to the author of this paper thus opening up the world of enhanced guitar compositions not previously known of. Bates is a composer, musician, producer and academic based in Dublin, Ireland. He received his PhD in music composition at Trinity College Dublin in 2010, where he now lectures. His research work includes spatial music composition and performance, the aesthetics of electroacoustic music, and the development of music software and hardware such as the hexaphonic guitar and multi-channel granulation algorithims.(Enda Bates Biog n.d.) He has performed original works for a hexaphonic guitar at the 2007 and 2008 Dublin Electronic Arts (DEAF) Festivals and at Soundings 0402 in Limerick.(Enda Bates Past Performances n.d.)

3.1.5

Andreas Paolo Perger

Andreas Paolo Perger is a contemporary guitarist, improviser and composer. His original music integrates improvisation, composition, spatialization, and social aspects into the process of origination. He is working in the experimental eld between traditional instrumentation and electronic music. He performed a concert for 5.1 surround guitar back in 2007 in Vienna. The guitar has been developed in collaboration with Stevens Guitars and Huber-Amps since 1993. The dierence between a guitar and the 5.1 surround guitar is the surround option. Each string sounds in one separate loudspeaker. The development of this guitar followed the idea to integrate the sound of the guitar into a spacial context, to reach more

15

3.1 Composers working with computer technology

contemporary sound and playing possibilities like delay, loops, scratches, vinyl sounds, cassette recorder sounds, and electronic sounds, without using electronic guitar eects. All these sounds come out very well spatially, when played on this guitar. Melodies, lines, chords, and rhythms get a fragmentary character in the room, opening up the sound of the guitar by changing the musical meaning of traditional idiomatic. (Andreas paolo perger | o record | o aufnahme | lo- mp3 n.d.)

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4 Creating the set up

4.1
4.1.1

The Guitar
Hexaphonic pickup

The polyphonic technology used in this project was a hexaphonic guitar pickup designed for an electric guitar. Hexaphonic pickups (also called divided pickups and polyphonic pickups) have a separate output for each string (Hexaphonic assumes six strings, as on a guitar). A lot of time went into researching which hexaphonic pickup would be best suited for the authors needs. It was decided early on in the project that the author would want the best natural sounding pickup but also not too expensive. In the end it was narrowed down to two makes of hexaphonic pickups, the Roland GK-34 system or Paul Rubensteins custom made Ubertar Hexaphonic guitar pickups (see gure 6). Rubenstein develops hexaphonic pickups from scratch, which are much more similar to regular magnetic pickups and claim to oer a much truer tone. It was the custom made Ubertar pickup which was decided on as it could achieve greater tonal qualities for each string which is a key goal in this project; also due to the fact that the author has a guitar with a spare pickup cavity to house the new pickup made this a logical choice.

17

4.1 The Guitar

In the paper (ndaBatesICMC08.pdfENDABATESICMC08.PDF n.d.), the author describes a method for separating the audio signals from each string of an electric guitar. The six signals were panned separately to create a spatialized array of sounds. Several pieces were composed specically for spatialized performance with hexaphonic guitar. This project by Enda Bates was the main inuence for this FYP project and is a good start when composing for a hexaphonic guitar performance. The guitar used is an Ibanez RG370DX. Initially it came with three pickups set up as such, Humbucker-Single-Humbucker. A few years ago the author had replaced the factory Humbuckers with EMG active humbuckers. This meant that the passive single coil pickup couldnt be used in conjunction with new active ones. The author removed this pickup all together. This left an open spacing for a new pickup (See gure 7). When this project was rst being discussed with the supervisor she suggested the use of polyphonic guitar technology. This led to research into the dierent methods of obtaining such polyphony with the guitar. Everything fell into place when it was discovered that Paul Rubenstein of Ubertar pickups creates modied standard pickups. This meant that they could t straight into the Ibanez with very little hacking of the guitar. The only hacking needed was to drill a hole through the body from the pickup cavity and make a hold for the DIN socket which outputs the individual strings signals to the breakout box. Purchasing the hexaphonic pickup and breakout box was all from Ubertar who also included the 7-pin DIN cable required for connecting the pickup to the breakout box (See gure 8).

4.1.2

Audio Interface

Upon breaking the polyphonic signal up into the individual strings from the breakout box, an audio interface is needed to connect the six outputs of the pickup to the computer for processing. Instruments such as electric guitars and basses are basically simple transducers that do not put out enough power to attain line level. In order to record guitar, bass or other high impedance (Hi-Z) signals, you either need a direct box (DI) or an audio interface with one or more

18

4.2 Max/MSP

dedicated Hi-Z instrument inputs (Guitar and Bass - Home Recording n.d.). An instrument input functions like a mini direct box, converting the high-impedance instrument signal to a level that can be handled by pro-level recording gear. This will enable you to record guitar or bass without using an amplier. The audio interface to be used in this project is the MOTU Ultralite6 which was supplied by the supervisor of this project. The reason why this interface was chosen was due to the 8-channel input and output located on the device, also its ability to connect to a Mac using a Firewire connection. This was acquired from the projects supervisor Dr. Kerry Hagan during the initial setup and programming of the Max/MSP patches. For the performance Darragh Pigotts MOTU Ultralite Hybrid will be used which allows for both USB and Firewire connections whereas the normal Ultralite only provides rewire connectivity. This audio interface provides professional audio quality at sample rates up to 192 kHz and plenty of inputs and outputs, including two mic/instrument inputs, six line-level analog inputs, ten channels of analog output, stereo S/PDIF(Sony/Philips Digital Interconnect Format) and a stereo headphone output. All together it has ten seperate inputs and fourteen seperate outputs. It also allows for connecting your favourite MIDI device. This product provided the necessary means for connecting all the inputs of the guitar, with a high sound quality, and unnoticeable latency times. This means that Max/MSP then recieves the signal of any string independently as soon as its played.

4.2

Max/MSP

By using the [adc] object with six outputs corresponding to the six inputs from the audio interface, each string can have their own ow of processing. As mentioned earlier, other peoples patches for guitar processing aided in the design of the patches used in this projects composition. Six [gain] objects were used to control the volume of each string before they go proceed to the dierent effects and more gain sliders to control the volume after the signals have passed through the eects. The dierent eects used in the performance are delays, reverb, tremelo and anger. The tremolo and anger eects are only applied to

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4.3 Surround Sound Array

the two high strings, B and E. The reason for this is for clarity reasons, because if the lower strings were also passed to these eects it would create a wall of indiscernible notes. To achieve a tremolo eect you simply multiply the signal with a low frequency cosine wave [cycle] object. This patch uses 4 Hz for this control frequency. The anger eect is similar but the cosine wave is applied to the delay line of a signal to modulate the delay time. In this patch a [cycle] object varies the delay time. When a signal with a time-varying delay (especially a very short delay) is added together with the original undelayed signal, the result is a continually varying comb lter eect known as anging. Flanging can create both subtle and extreme eects, depending on the rate and depth of the modulation (SPMSP Tutorial 29: Flanging n.d.). A [comb] object is applied to the high E string. This mixes the current input sample with earlier input and/or output samples. in other words, it combines a delayed version of the high E string to itself, causing constructive and destructive interference. An example of comb ltering in acoustics can occur when two loudspeakers are playing the same signal at dierent distances from the listener thus resulting in a delayed version of the direct sound on top of said direct sound. These eects receive the strings signal after it passes through a [gizmo] object which shifts the pitch of an incoming sound to provide harmonized delay eects. The [gizmo] object must be used inside a [pt] with an overlap of four or more using an overlap of two will produce quite audible amplitude modulation. When used outside a [pt] it does nothing(Gizmo Reference n.d.). To ll out the sound of the two low strings, reverb was applied by using Maxs example of how to create reverb . All the outputs of the eects and the direct guitar signal are passed to their destined output in a [dac] object with six inputs corresponding to the six outputs from the MOTU interface. See gure 2 in appendix for the cleaned up Max/MSP patch in presentation mode. This mode allows for easy access to levels, eects, loading and recording of sounds.

4.3

Surround Sound Array

As mentioned earlier, the surround sound system used will be the 6.1 surround sound. This allows for the routing of each string and the dierent eects to be

20

4.3 Surround Sound Array

spatialized around the listeners. The .1 will not be used for the performance as the aim is to highlight the guitars spatialization. The backing track will also be formatted to allow for the spatializing of the dierent instruments used. This aims to envelope the listeners in the sound eld and provide a unique way of experiencing a musical piece from all sides (See gure 3). The surround sound of the backing track was done using Logic Pros surround sound panning capabilities (see gure 4).

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5 Description of Composition
5.1 Approach and Techniques

The approach taken for creating this projects composition can be broken down to two parts. Firstly, the Max/MSP patches needed to be programmed as to realize the sounds possible with a guitar and nd the desired sound and eects to be used. This part was carried out from the outset of the project up until Christmas. On the return to college for the second semester the hexaphonic pickup was now installed and ready to be used. The patch only needed the addition of the inputs and outputs of the analog and digital converters. Secondly, during the Christmas break research was done into the techniques and approaches of composers to orchestrate their own virtual instruments. On the rst attempt of creating a backing track the author looked at trying to recreate the musical piece by Mike Oldeld, The Bell. This provided good practice for achieving various instruments sounds but the author abandoned this idea in favour of creating an altogether original piece. This started out by playing around on the guitar for a few days to come up with a melody for the theme of the piece. The key of F major / D minor is used. A simple G Dorian lick is used for the intro and is played by a piano VST with the relative chords. A strings VST was used to create an orchestrated feel to the intro without overshadowing the other instruments. This along with

22

5.1 Approach and Techniques

a background droney synth which plays throughout the piece, following the notes and chord progression of the piano, adds an element which can be used eectively in a surround sound environment. This was used to show the inuence this course has had by using some minimalist music techniques. La Monte Young denes drone music as the sustained tone branch of minimalism(Notes on The Theatre of Eternal Music and The Tortoise, His Dr - theatre.pdf n.d.). A cello VST and bass guitar VST is then brought in to add some bass to the melody which outlines the notes of the D minor scale and reinforces the feel of the song. A melody was written then on the guitar to be played by a violin VST to provide the higher pitched melody. A viola VST is introduced to add another layer to the two other members of the violin family. The music fades away except for the piano melody and drone synth for a breakdown section which then builds up with the re-introduction of the cello and strings. The violin then comes in as well as a slowly intensifying drum loop to nally build into the energetic part of the song with the rhythm of the distorted electric guitar. A melody was written for the viola to add another lead instrument to the mix at this part as well as a fast strummed lick of octaves played on a distorted guitar. The distortion guitar sounds were achieved by using the Guitar Rig 5 VST and recording it alongside the other tracks in real-time. The drums fade out on a kick and the initial theme is returned to with just the piano, synth, strings and violin family. Then just as energetic theme ended on a kick drum, so too, does the whole piece after a slight swell in volume.

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6 Conclusions and Future Directions

This project has allowed the author to explore the compositional process through the use of computers and their real instrument emulation. With the initial project idea of expanding the sonic possibilities an electric guitar is capable of, the project developed into a surround sound composition as well as a surround sound guitar performance. This reects the authors inspiration from the research carried out and the musical inuences of various composers. The work Enda Bates has done in spatializing the guitar was of interest to the author and with this the works of the other artists mentioned in this paper to create a surround sound track which utilizes digital means to form an ensemble of instruments. This project has given an interesting insight into how composers can create songs at home and then, if they want, send it to a real orchestra to perform it with the more rich sounding real instruments. As the technology of VSTs improve it may be possible to achieve this richer sound and do away with the need to record the instruments but it will never be able to replace the feeling and emotion a performer of an instrument can produce. On the performance night, the audience experienced a new way of hearing a solo guitarist play in a surround sound setting and thus be engulfed in the music and guitar performance. For the performance it was necessary to have a low CPU intensive Max/MSP patch as it was unknown as to

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6.2 Future Work

the power of the PC used on the night. For this reason not a lot of eects were incorporated. There is a sub-patcher in the submitted main patch which shows how other eects can be obtained and applied to desired strings.

6.2

Future Work

Future works with this approach to performing with a guitar can further expand the possibilities for a musician. One such idea is to use one of the strings signals to control a parameter or object in Max/MSP, such as turning on or o an eect when a certain note is played by using a pitch tracking object such as [sigmund]. The vast amount of dierent sound processing Max/MSP is capable of can be applied to the guitar signal, and with the use of a hexaphonic pickup can further produce more musical possiblities for a guitarist to experiment with. Also, as mentioned earlier, the new [Gen] object for Max/MSP could see developers creating their own sound processing objects and bridge that gap between native objects and external programming.

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Appendix

Figure 1: Max Guitar Processor - Darwin Grosses Guitar processor for Max/MSP [Source: (Max 5 Guitar Processor, Part 1 Cycling 74 n.d.)]

26

Appendix

Figure 2: Presentation Mode - The Max patch used for the performance. [Source: (Scully 2013b)]

27

Appendix

Figure 3: Arrangement of speakers - Loacted around the audience with the performer inbetween and behind speakers 3 and 4 [Source: (Scully 2013c)]

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Appendix

Figure 4: Screenshot of Logic - This is the spatializing of individual tracks into a speaker array [Source: (Scully 2013d)]

29

Appendix

Figure 5: Screenshot of the Reaper environment - The dierent instruments are imported as audio les after creating the midi track earlier [Source: (Scully 2013a)]

Figure 6: Pickups from Ubertar - Pickups and breakout boxes from Ubertar [Source: (Ubertar Hexaphonic Guitar Pickups - Home n.d.)]

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Appendix

Figure 7: Ibanez 370DX - This is the guitar used with hexaphonic pickup in the middle

31

Appendix

Figure 8: Back of Guitar - This shows the back of the guitar with the 7-pin DIN housed on an aluminium plate

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