It's all part of the process, that's my positivity talking. My negative side would say "Logic you $*#stard, and God damn the recording we did in the park!!!"
On Friday we topped and tailed the sounds we chose to use from our park recordings and bounced them. Today we put them into Logic but had to re-boot a few times to get it to actually work. We chopped up some of the best sounds and looped them to see how they would play as drumbeats. We had to normalize them first so we could see the soundwaves as they were too small for us to see where to cut. This also makes the sound louder. There were some good samples, we got a nice ringing sound off the bench to use in the place of a cymbal, a kick drum, a crunchy sound, and a few others. There are plenty of different noises to have a good variation of rhythms.
Nicola and I discussed what to do next. We planned to put the sounds into Logic along with the vocal line to see how we could get some rhythm going. We spoke about the structure of the song; Nicola was thinking of it telling the LRRH story in order but i like the idea of having elements of the story present without having a consecutive order, although we thought that starting with footsteps was a nice idea, which could start the beat off. We have the dance also, which can express our themes and we can use this for the imagery in the video. We could film in the woods, at night with some good lighting and effective costume. All of these will contribute towards demonstrating the ideas behind our project and hopefully succeed in doing so.
Post-discussion, we loaded the sounds into Logic, along with the vocal to start composing, but our park sounds were really bad. After normalizing them, because they were made louder, it also made the background noise louder so there was a hiss underneath. I thought we might be able to disguise this with effects but Nicola said it would still sound bad and if we used the sounds we hadn't normalized they would not only be too quiet but the fade in and outs sounded weird. This was something to do with the quantization. So our best solution is to re-record the sounds again, using one mic. We recorded in stereo before to get a whole sound but if we use just one we will have less road and background noise. So that's our next meeting planned out.
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GS Comments from tutorial, 7/11/07
We discussed some of the areas that you are interested in exploring, especially work in 3D with Motion capture. This will be an interesting route to go down, especially as I am quite interested in looking at this field, too. It will mean looking at yet more software (Cinema 4D, Maya, Motion Builder, possibly Photosynth, though this won't run on my graphics card), though I have talked to Nick Jones, and there is a tutorial support website that you can access to help you.
We had quite a bit of discussion about 'mapping strategies' in relation to controlling the results of the capture or midi suits (as opposed to just affecting the outputs), and that this would be both challenging, technically complex and of considerable interest to a wide audience, especially as you have suggested that you want to retain a live performance element.
The elements of the work you want to do are a combination of Performance, projection (and this could take more than might be supposed), animation and photography, working out a means of creating interactivity between the elements.
It is also important to get on with the filmic elements of your interests, though this is now coming up in the collaborative project. Some discussion about the potential of the Cindy Doll project as a means of combining these things.
The Derrida interview is found in Bodies of the Text: Dance as Theory, Literature as Dance by Ellen W. Goellner, Jacqueline Shea Murphy, New Brunswick, New Jersey: Rutgers University Press, 1995, but the original reference is
Interview: Choreographies: Jacques Derrida and Christie V. McDonald
Christie V. McDonald, Jacques Derrida
Diacritics, Vol. 12, No. 2, Cherchez la Femme Feminist Critique/Feminine Text (Summer, 1982), pp. 66-76, which you can order from the library via the British Library.
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