GMU:Bild zu Ton, Ton zu Bild/Projekte: Difference between revisions

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In my work, I use mainly 3 kinds of informations : the ''pitch'', the ''amplitude'', and the ''attack''.

At first, I used to work a lot on the pitch, with a serie of patches working with filters isolating each note on 3 octaves, linked to color ~~changements~~. But the result was not enough precise. I tried to use this way to animate sounds from a bass guitare, due to the harmonics, it was hard to follow the music movements and ~~changements~~. So I started to work more on the attack information. The conclusion was that with animation, it's easier to follow shapes changements or movements than colors ~~changements~~.

At first, I used to work a lot on the pitch, with a serie of patches working with filters isolating each note on 3 octaves, linked to color changes. But the result was not enough precise. I tried to use this way to animate sounds from a bass guitare, due to the harmonics, it was hard to follow the music movements and changes. So I started to work more on the attack information. The conclusion was that with animation, it's easier to follow shapes changements or movements than colors changes.

Later, I had an other problem. Using a lot particles on Pd, my abstractions (one for each instrument) switched their color information each other (for exemple, guitare colors sent to drums forms). So at first, I tried to switch the color parts in all the abstractions. But it could still change, especially if not all the abstractions are used in the same time. So , with no solution, I decided to use this problem, using the [part_targetcolor] object to have more interactions between colors, and different result. Actually I worked on the colors ~~changements~~ with the "pitch", that was a way to use this information with less impact than on movement. But I noticed that switching the shapes'colors was not a problem, because '''the movements and shapes' evolutions are the main things that the brain follows and links to the music'''. So my problem became a way to make the colors evolve. The color ~~changements~~ due to the pitch can still be linked to the music, because in a musical composition, the different instruments play together. The main thing is to have a global picture, evolving globaly in accordance to the music.

Later, I had an other problem. Using a lot particles on Pd, my abstractions (one for each instrument) switched their color information each other (for exemple, guitare colors sent to drums forms). So at first, I tried to switch the color parts in all the abstractions. But it could still change, especially if not all the abstractions are used in the same time. So , with no solution, I decided to use this problem, using the [part_targetcolor] object to have more interactions between colors, and different result. Actually I worked on the colors changes with the "pitch", that was a way to use this information with less impact than on movement. But I noticed that switching the shapes'colors was not a problem, because '''the movements and shapes' evolutions are the main things that the brain follows and links to the music'''. So my problem became a way to make the colors evolve. The color changes due to the pitch can still be linked to the music, because in a musical composition, the different instruments play together. The main thing is to have a global picture, evolving globaly in accordance to the music.

I chosed to work on 6 different sources creating 6 elements : singer (main voice), guitare, piano, drums, bass, and strings (or choir voices). Those sources are a good summary of the different sounds of music. Of course, you can take a music using other sources and link those ones to the most similar from this list, for exemple for electronic music.

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 In my work, I use mainly 3 kinds of informations : the ''pitch'', the ''amplitude'', and the ''attack''.
-At first, I used to work a lot on the pitch, with a serie of patches working with filters isolating each note on 3 octaves, linked to color changements. But the result was not enough precise. I tried to use this way to animate sounds from  a bass guitare, due to the harmonics, it was hard to follow the music movements and changements. So I started to work more on the attack information. The conclusion was that with animation, it's easier to follow shapes changements or movements than colors changements.
+At first, I used to work a lot on the pitch, with a serie of patches working with filters isolating each note on 3 octaves, linked to color changes. But the result was not enough precise. I tried to use this way to animate sounds from  a bass guitare, due to the harmonics, it was hard to follow the music movements and changes. So I started to work more on the attack information. The conclusion was that with animation, it's easier to follow shapes changements or movements than colors changes.
-Later, I had an other problem. Using a lot particles on Pd, my abstractions (one for each instrument) switched their color information each other (for exemple, guitare colors sent to drums forms). So at first, I tried to switch the color parts in all the abstractions. But it could still change, especially if not all the abstractions are used in the same time. So , with no solution, I decided to use this problem, using the [part_targetcolor] object to have more interactions between colors, and different result. Actually I worked on the colors changements with the "pitch", that was a way to use this information with less impact than on movement. But I noticed that switching the shapes'colors was not a problem, because '''the movements and shapes' evolutions are the main things that the brain follows and links to the music'''. So my problem became a way to make the colors evolve. The color changements due to the pitch can still be linked to the music, because in a musical composition, the different instruments play together. The main thing is to have a global picture, evolving globaly in accordance to the music.
+Later, I had an other problem. Using a lot particles on Pd, my abstractions (one for each instrument) switched their color information each other (for exemple, guitare colors sent to drums forms). So at first, I tried to switch the color parts in all the abstractions. But it could still change, especially if not all the abstractions are used in the same time. So , with no solution, I decided to use this problem, using the [part_targetcolor] object to have more interactions between colors, and different result. Actually I worked on the colors changes with the "pitch", that was a way to use this information with less impact than on movement. But I noticed that switching the shapes'colors was not a problem, because '''the movements and shapes' evolutions are the main things that the brain follows and links to the music'''. So my problem became a way to make the colors evolve. The color changes due to the pitch can still be linked to the music, because in a musical composition, the different instruments play together. The main thing is to have a global picture, evolving globaly in accordance to the music.
 I chosed to work on 6 different sources creating 6 elements : singer (main voice), guitare, piano, drums, bass, and strings (or choir voices). Those sources are a good summary of the different sounds of music. Of course, you can take a music using other sources and link those ones to the most similar from this list, for exemple for electronic music.