looks interesting, count me in!
regarding picture to sound : photosounder
to get sound from a photo…
(i didn’t try it)
Fun thing about tools like Photosounder and Metasynth: not only can you manipulate the sound inside the tool itself, but you can grab the pixels and mess with them in Photoshop or other graphics tools, then bring them back into the synth. There are ways to create delays, reverbs, etc using various graphics techniques.
While I love the idea about submitting a sound and a picture (which is no wonder as photography is my second passion) I have been thinking about the earlier suggestion to incorporate human voice into the next LCRP.
Two ways to think about that. My assumption is that using spoken word or vocal samples would generally not change everyone’s approach to a project like this, just that the outcome would contain textures that are recognizably human. On the other hand, I believe if we’d soften the rules somewhat and say that people have to produce tracks using standard LCRP rules but can then actually sing over the final tracks, that could yield some fascinating results.
Honestly, I’m not sure myself if this is actually a good idea, so I put it out there for you to comment and tear this idea apart.
So, the rules. I’m wondering what the original inspiration for the “only samples” rule was? Because I’ve had similar thoughts, but my next question is “why only voices?” (If the answer is simply ‘arbitrary constraints’, so be it).
As I understand it the original constraint over samples was to give each participant the same “materials” for constructing their tracks (then each can Remix them - the R in MCRP/LCRP).
I haven’t participated since the beginning, but there have been releases which allowed scope for original compositions. The Christmas ones come to mind, when we covered tracks or did mashups.
Personally I enjoy the constraints. I like trying to working out where people have used the different samples. Having limited resources ha allowed me to use each project to learn something new or experiment with something I’ve never tried before.
As an aside, have we did one with no instrument samples? I can’t remember.
Sounds cool 20 characters
I dont think the closed sample pool concept is a big problem - with enough contributors. but I do like a theme or concept to shape it a bit. The Pictures into Sound idea is a strong idea in principle but I have only ever mucked around with these programs very casually- dont know how various the sounds might be- but there are a few different programs that do this- if we made an effort not to all use the same ones surely that would give some variety. We pool a list of the various methods and declare what we will use?
Just trying to find a way forward…
I don’t have much to suggest to the “turning pictures to sound” right now… but just wanted to say that I’d love to participate! And I’ll think about it, maybe I have some idea as well.
Besides that… I’d like to +1 jhindsight’s suggestion:
After having played around for a month or so with image convertors, I am inclined to agree. The sounds created are pretty limited.
I love the idea discussed of submitting a picture and 2 samples inspired by it. Then the pics being randomly distributed to participants to inspire their creativity.
Can we call the theme “Synaesthesia” and leave it open to any method of intertwingling the audio/visual? (Can even mean simply being inspired by submitted images).
I also love the idea of encouraging vocal samples. How about asking contributors for the following?
- rhythmic sample
- melodic sample
- vocal sample
- image (can be a photo, a waveform, an audioprint, whatever)
@steveoath where do we send our samples? What is our deadline?
Does anyone wish to joint curate this one? I don’t mind curating it, but I have 3 uni projects due this month.
If one deals with redistribution of images the other with samples does that sound appealing to anyone
Just chatted offline with @steveoath and I’m going to curate this release so he can focus on his uni work.
Please send samples to jasonw22 at gmail (you can use Dropbox or any other means, I’m not picky), or, even better, put them somewhere on the web and send me a PM through lines (that way I don’t have to worry about losing your email to the spam filter).
How about a deadline of Monday July 17th? Gives you that last weekend to hurriedly finish up.
I’ve never participated before, mind giving a quick overview of the project? Searching is yielding limited results.
- Before the deadline, anybody that wishes to participate sends their samples (and an image this time) to the curator.
- On the deadline the curator makes all of the collected samples available to every participant
- A new deadline is set for finished tracks
- Participants create a track using only the provided samples as sound sources. There is no obligation to use every sample. Samples can be processed in any way.
- At the deadline, all finished tracks are collected by the curator and handed off for mastering.
- After mastering the Kunaki and Bandcamp stuff gets set up and the release happens.
Hope that helps!
For an alternative explanation here is a poem contributed by @angrycrow for the previous LCRP:
for those of you that are new to this,
where we all submonome else’s samples to
create a track. stick all of the tracks to you
an album where we all submit a couple of samples, then
samples to create a track. stick together and you get an album.
those of you that are this group, it’s where
we all submit a couple of samples, then everyone
uses everyone else’s samples to create a track.
stick all over and you get those of you that are new
to this group, it’s where we all
submit a couple of samples,
then everyone uses everyone else to create a track.
stick all of an album.
those of you that are a track stick the track.
all of the tracks together.
This sounds like a great pool to work from.
New thread time maybe @jasonw22 ?
Sure… in a complete sentence.