Well I get the idea, perhaps in these days of visual in your face and sound being a background task a slightly more engaging video would engage peeps more, Ben.

In the right mood (and mind state ) I could probably enjoy this, nice Ben thanks for sharing.

Pretty cool Ben.

Thanks Guy...I should have posted the moon piece...oh well :)
 
Peace Ben

BenMMusTech

ULTRABRA
Can you explain us what "created from the temporal audio" means.

The Temporal is location field and vision recordings.
 

So you record some sounds and make audio from it ... what's the process?   You said something similar on your earlier Fountain piece :  "The sounds are all temporal ;) or filmed on location, and I use these to create the chords heard throughout the piece." - so you recorded the sounds of the fountain, and then used those sounds ... how do you use them?

ULTRABRA

BenMMusTech

ULTRABRA
Can you explain us what "created from the temporal audio" means.

The Temporal is location field and vision recordings.
 

So you record some sounds and make audio from it ... what's the process?   You said something similar on your earlier Fountain piece :  "The sounds are all temporal ;) or filmed on location, and I use these to create the chords heard throughout the piece." - so you recorded the sounds of the fountain, and then used those sounds ... how do you use them?

Ok, so just like in film location work you record the audio and vision together, so the vision and audio are time locked.  The same happens in these compositions.  I place this audio in a granular synthesizer, and I use Steinberg's Padshop, because it the interface is similar to most synth interfaces.  
 
Oh, and for those who don't know what a granular synthesizer is, think a sampler but only much better because not only can you go backwards and forwards with the sample, you can horizontal or diagonal...its a bit poetic but think of the analogy of sculpting but you're sculpting with sound.
 
So I have an audio track inside the granular synth, and I time lock the grain position...the forward and backward of the sample so it stays in sync with the vision.  I then compose a piece using Roman Numeral Analysis...so the 1 chord is the dominant, the 2nd in the case of minor a diminished etc.  I also use the theory of key signature too, which is supposed to be moot, no one can say for sure if it's true.  So for this piece I used Fm because it was a funeral piece...David Bowie had just died, and the theory of key says Fm is the funeral key.
 
I then sculpt to shape the sounds heard in piece.  I also have a clean layer, and for this piece I layered 3 granular synths to create a harmony of sorts.   
 
Does that explain it Ultra? lol ;)
 
Peace Ben

To illustrate the amazing power of a granular synth have a look at this video.  This is just a single hit of a Tibetan bowl and nothing else.
 
https://www.youtube.com/watch?v=UFDg7X3dlfc
 
I have got Mangle as well and it is a lovely instrument for sure.  In the latest version of Mangle you can now stop the granular for a second and just listen to the original sound which is quite handy.  You can see by the waveform that there is the transient at the start and the rest is just the sustained part of the bowl.  I have done this myself and it quite amazing.
 
Any sound can be manipulated this way.  Even the sound of a footstep or the sea or anything literally.  Granulars can still be played from your keyboard too just like a normal synth.  So all this can be transposed up and down and played polyphonically too and then things start to get real complex too as you can imagine.
 
You can get very tuned sounds out of granulars as well as complex sound scapes.  They do require a little understanding.  Granite is also amazing as Padshop would be too.
 
Here is a Granite demo:
 
https://www.youtube.com/watch?v=MuN0Jezi2Kw
 
Audio is cut up into tiny bits called grains and they are only very small in time eg 10 ms to 50 ms or so. The grains are then manipulated/modulated in many different ways etc...  What is cool about a granular synth is its ability to produce such complex sounds that most normal synthesisers would not even come close to even when trying real hard.
 
A Granite intro by New Sonic Arts
 
https://www.youtube.com/watch?v=hnKTiFVpBAo
 
 
 

I listened to it without watching the video, and enjoyed it, just kind of ambient mood with those darn crickets in the tall grass.
 
Nice stuff, really stretches the boundaries of what sound is/music is/songs are . . . your work is to conventional songs as Jackson Pollack's work is to something conventional like the Mona Lisa. I appreciate both, but it may not be everyone's cup of magic tea.
 
Feel free to use "Magic Tea" as your bandname.  :)
 
Thanks for the flashback!
 
-Tom

emeraldsoul
I listened to it without watching the video, and enjoyed it, just kind of ambient mood with those darn crickets in the tall grass.
 
Nice stuff, really stretches the boundaries of what sound is/music is/songs are . . . your work is to conventional songs as Jackson Pollack's work is to something conventional like the Mona Lisa. I appreciate both, but it may not be everyone's cup of magic tea.
 
Feel free to use "Magic Tea" as your bandname.  :)
 
Thanks for the flashback!
 
-Tom

Thanks Tom.  Yes, as a part of my research I'm trying to re-invent the wheel so to speak..it's a combined visosonic form lol.
 
Peace