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

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Projekt :

'''Projekt :'''

My project is about music generating pictures by computer, and more espacially with Pure Data. The aim is to create a kind of numeric painting illustrating different sources of sounds and music, with simple forms, colors and movements. So I want to create a player on Pure data, using multitracks.

Artists and Influences:

'''Artists and Influences :'''

For this project, I thought a lot about 3 artists : '''Kandinsky''', '''Fishinger''' and '''McLaren'''.

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Pure Data :

'''Pure Data :'''

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 to isolate 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.

Later, I had an other problem. Using a lot the particles on Pd, my abstractions (one for each instrument) switched their color information each other. So at first, I tried to switch the color parts in all the abstractions. But it could 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 for the movement. But I noticed that switching the shapes'colors was not a problem, because

Later, I had an other problem. Using a lot the 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 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 for the 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.

I chosed to work on 6 different sources creating 6 elements : singer (main voice), guitare, piano, drums, bass, and strings(or choir voices).Those source 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.

The first source I fixed was the one of the '''Singer''', the only one which doesn't use particles. I chosed to use a kaleidoscope effect, in the middle of the picture. so I worked on different sources and shapes to use. I finally chosed a spiral to get circles (different ones, its denpends of the the number of angles) with horizontal lines which creates kind of stars inside. This round result make the projekt evolve to a global composition around it. So most of the other elements turn around this one.

For '''Piano''' and '''Guitare''', using particles, I started with squares moving from left to right in horizontal, appearing on each detected attack, and using pitch to get their verticle position. I wanted that "notes" appear like touch of paint. But as I said upper, this system based on the pitch was not enough precise. So I let theme on the same line, and the attack information appeared to be enough to follow the music, with pitch acting on color. I finally made the rectangle turning around the middle of the composition. The rectangles also turn slowly aroud themselves (+5 degrees for each detected attack). The amplitude is used for the size.

For '''Strings (or voices)''', I used also turning particles, but with a quite unic size. the amplitude acts on the radius of the rotation. The attack acts on the the speed increased ateach detection. It gives something really linked to the strings sound, fast and alive, reacting really well visually to the sound. I chosed triangles because it gives a really dynamic effect.

For '''Bass''', I used the same system, but slower, and with an oblique obit and a deeper color. It give easily a background mood. I chosed circles because it gives something stable, like is bass for a tune.

For '''Drums''', I used a system primary similar to the piano and guitare one. but not turning. The rectangles appear around the singer voice, but the vertical position is randomly got. the horizontal position is given by the amplitude.

[[Image:musicpainter_exemples.jpg]]

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Result :

'''Result :'''

@@ Line 57: / Line 57: @@
-Projekt :
+'''Projekt :'''
 My project is about music generating pictures by computer, and more espacially with Pure Data. The aim is to create a kind of numeric painting illustrating different sources of sounds and music, with simple forms, colors and movements. So I want to create a player on Pure data, using multitracks.
-Artists and Influences:
+'''Artists and Influences :'''
 For this project, I thought a lot about 3 artists : '''Kandinsky''', '''Fishinger''' and '''McLaren'''.
@@ Line 82: / Line 82: @@
-Pure Data :
+'''Pure Data :'''
 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 to isolate 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.
-Later, I had an other problem. Using a lot the particles on Pd, my abstractions (one for each instrument) switched their color information each other. So at first, I tried to switch the color parts in all the abstractions. But it could 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 for the movement. But I noticed that switching the shapes'colors was not a problem, because
+Later, I had an other problem. Using a lot the 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 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 for the 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.
+I chosed to work on 6 different sources creating 6 elements : singer (main voice), guitare, piano, drums, bass, and strings(or choir voices).Those source 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.
+The first source I fixed was the one of the '''Singer''', the only one which doesn't use particles. I chosed to use a kaleidoscope effect, in the middle of the picture. so I worked on different sources and shapes to use. I finally chosed a spiral to get circles (different ones, its denpends of the the number of angles) with horizontal lines which creates kind of stars inside. This round result make the projekt evolve to a global composition around it. So most of the other elements turn around this one.
+For '''Piano''' and '''Guitare''', using particles, I started with squares moving from left to right in horizontal, appearing on each detected attack, and using pitch to get their verticle position. I wanted that "notes" appear like touch of paint. But as I said upper, this system based on the pitch was not enough precise. So I let theme on the same line, and the attack information appeared to be enough to follow the music, with pitch acting on color. I finally made the rectangle turning around the middle of the composition. The rectangles also turn slowly aroud themselves (+5 degrees for each detected attack). The amplitude is used for the size.
+For '''Strings (or voices)''', I used also turning particles, but with a quite unic size. the amplitude acts on the radius of the rotation. The attack acts on the the speed increased ateach detection. It gives something really linked to the strings sound, fast and alive, reacting really well visually to the sound. I chosed triangles because it gives a really dynamic effect.
+For '''Bass''', I used the same system, but slower, and with an oblique obit and a deeper color. It give easily a background mood. I chosed circles because it gives something stable, like is bass for a tune.
+For '''Drums''', I used a system primary similar to the piano and guitare one. but not turning. The rectangles appear around the singer voice, but the vertical position is randomly got. the horizontal position is given by the amplitude.
 [[Image:musicpainter_exemples.jpg]]
@@ Line 94: / Line 106: @@
-Result :
+'''Result :'''
 <videoflash type="vimeo">10915919|400|265</videoflash> <videoflash type="vimeo">10914603|400|265</videoflash>