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Scrambled Audio, Burroughs Style (help?)

 
 
Chiropteran
21:11 / 24.09.03
I would like to explore some of the magickal possibilities of audio cutups, a la Burroughs and Gysin. Most of my audio/music work is on my computer, so I'm hoping that (somewhere out there) there is a program (preferably freeware or cheap shareware - I'm pretty strapped most of the time) that can split an audio file into many little bits and rearrange them into random order. The smaller the bit, the better (and controllable degrees of randomness would be great), but I'm not too picky. It's possible to do it manually with the software I have, but it's pretty tedious.

Does anyone have any suggestions?

Also, on a related note (and for a similar purpose), does anyone know of a decent digital video editing program (again, free/shareware preferred), something like a CoolEdit for video? More modalities to cut up and scramble.

[Mods: I posted this here since I plan to use the software for magickal purposes, but if you feel it would be better someplace else - on the tech' advice angle - go ahead and move it.]

~L
 
 
grant
16:03 / 25.09.03
They'll all basically do that. See if you can get a demo version of Acid. They were bundling an 8-tracks-only version with new soundcards a while ago (it's what I use), and is perfect for cutting & looping .wav files.
it's PC only, though.
www.sonicfoundry.com
 
 
grant
16:19 / 25.09.03
Oh wait, I just got the "automatically random" part. Hmm. I can't think of any that do that. With a short sample, it's possible to randomize things pretty easily on Acid just by cutting and pasting -- especially if you open the same clip on three or four different tracks.
But that's still doing it by hand.

I can't think what kind of musician would need to edit a sound randomly, so I can't think of a product that did that.

Although-- you *can* use FruityLoops as a sampler. It's a drum machine program that gives you (I think) nine samples at once to put into sub-patterns, and then a group of like four or five sub-groups-of-nine. At least that's on the demo version I futzed around with a couple years ago.

If you cut up an audio clip into chunks and made each chunk a "drum," it'd be easy to randomize a message into short, arbitrary patterns.
 
 
Secularius
16:42 / 25.09.03
I use Sound Forge for sound editing but it doesn't have this random function you're looking for. Recycle is good for cutting up samples into tiny snippets which you can play with in a sequencer (such as Cubase or Reason). For the video editing Adobe Premiere is very simple and solid package. Vegas is also a good option for cutting up and playing with tracks both audio and video. Unfortunately none of these programs are free but luckily I was able to "borrow" some of them from friends who "borrowed" them from someone else.
 
 
Chiropteran
17:27 / 25.09.03
Thanks for the suggestions - I've worked with FruityLoops and sound editors like Cool Edit before (with reasonable success), but I was just looking for a way to randomize the process. I like the sound of Recycle, though, so I'm going to look into that further.

Searching the web, I've found a lot of programs that can do this with text, usually created by people for Burrough-type literary projects. I'm still hoping someone has come up with one for sound (to emulate his tape experiments without the razorblades).

I've heard that a granular synthesizer breaks a source sample down into microscopic pieces and blends them into a new synthetic sound (is that more or less right, someone?) -- does anyone know any more about that? Maybe if the "granulation" size can be set large enough...?

Of course, if I do have to work manually, it'll still be easier than Burroughs and Sommerville had it - I shouldn't complain.

~L
 
 
reFLUX
19:20 / 25.09.03
your randomisation need not come from a machine. the only machine Burroughs had was his body.
 
 
Chiropteran
20:29 / 25.09.03
True, but that body was equipped with a reel-to-reel tape machine, a razorblade and a roll of splicing-tape. I'm working with .wav files. Different tools for different times.

I've done plenty of paper-and-scissors text cut-ups, but I'm not up for doing a dozen splices-per-second by hand (especially for recordings as long as I'm dealing with).

~L
 
 
at the scarwash
21:23 / 25.09.03
You may be able to do what you're after with a granular synthesis program. Granular synthesis evolved from composer Iannis Xenakis's idea that a sound (a waveform) can be reduced to grains, each sort of a micro-wavefrom with its own properties (attack, decay, etc.). Basically analogous to pixels combining to form a larger picture. Imagine the collection of tiny noises resulting from stepping on a piece of charcoal. Electronic granular synthesis works by chopping up a sound source into grains and modulating the parameters of the individual chunks. Most of the GS software I've seen have a parameter that controls the granularity (number of grains), and with a low-enough granularity, you might be able to preserve the integrity of individual phonemes, although I'm not sure that you could preserve any complete words. But it might work as a decent glossolalia generator. Programs I like are Crusher-X and AudioMulch. Crusher-X is a very intense shareware program that allows for much tweaking. I'm not sure if you can import your own sounds into the demo, though, and I'm certain you can't save. AudioMulch is a music-buggery suite of various tone-generators and filters, a few of which work on the principle of GS. It does allow saves, but the demo tends to expire shortly after downloading. It's still only $25 US, though, I think, and a work of genius. Crusher-X is the more intuitive of the two, as you can assign anything as a control interface (I liked using a gamepad), although the amount of parameters is staggering. AudioMulch is a work of genius, and is something that I think every adventurous sound artist should play with. Also available is a freeware GS program called "Granny." I don't know that you can save anything, and it's very basic, but fun. I would have found links to all of these for you, but I'm using a hobbled library terminal that only allows me one browser page at a time.
 
 
Chiropteran
12:55 / 26.09.03
testpattern, thanks for the info on GS. I think this may well be what I need. I'll take a look for the programs you suggested.

Thanks, all!

~L
 
 
fluid_state
17:57 / 26.09.03
well, coagula might not look like much, but it offers a distinctly different approach to random noise creation. It creates sound from images (.bmp), so you can, say, type your intent into MSPaint or Photoshop and make it a sound, turn a sigil into noise and suchlike. Surprisingly fun and effective (I've havent had to DL a generic game/computer/machine sound in ages).

Of course, by random, I mean that I haven't bothered to read the instructions and I just have fun playing with pretty pictures.
 
 
Chiropteran
18:23 / 26.09.03
I love coagula! "Drawing sound" is just so intuitive, and yes I have used it for (pseudo)magickal purposes. (I haven't read the directions, either. )

What I'm doing right now is a little different (manipulation of prerecorded sounds, mostly speech), but thanks for reminding me about coagula - I haven't used it in over a year, but I think it'd be perfect for another (musical) project I'm working on right now.

~L
 
 
Melissa & Ev
07:23 / 27.09.03
So I found myself having a conversation today which resolved (sic, 'revolved' + 'resolved') around a conundrum.

I hate books & I am a writer.

Damn.

God Damn maD doG.

No, I don't hate books, but I'm starting to feel that text.sux. and the remove is too far away to bee-hive Ceen; that is, I don't hate books, I feel that I think at least I'd be better off if they were not around. That is:

Text separates reality tunnel user from reality tunnel user at one remove from IRL.

And that means a lot of meaning is relative, shifting, lost & not found drowned down the drain causing pain to your brain because there is a person behind every performance and if U and I all stopped taking the stage/world/reality tunnel weave interface, well then, there’d be only silence until we broke it.

So burn some books today.

Let's go bardic, baby.

Let's go oral all the way.

No text files but sound files, image files: voice recognition MP3 addiction. F1-11 Rock-it shoot it in the head.

Ya' dig?

Are you a 21c. human doing?!

And Burroughs was doin' it, as lovely Mordant might say, "Yoinks & doinks ago."

On a reel to reel or a tape recorder--like some of us may have had as kids. Not a "boom box" or "ghetto-blaster," but a simple little portable cassette recorder: no radio; that is to say, Radio Free.

Radio Free Albemuth.

Cheers to PKD & WSB.

.&$$!!!I + U!!!$$&.

[cue track Jesus Jones w/ voice over]

Right Here.

Right Now.

Is that where u are?

Or merely where you think you might want to be?

Are you trapped in history?

Hegel’s {I & ~I} trip got you spinnin’ diZzy?

The wordZ of the herdZ in U-our Head?

The Sickness unto Death?

Well.

[full stop voice: fade JJ: one heart beat two heart beat three heart beat]

[sample: Laurie Anderson: sharp cut]

Listen to my heart beat.”

[let screechy guitar solo continue play]

Ic-dU?

We’ve got what it takes to take what we don’t need.

Yes, take it away and put it down where U & I or

Not I & Not U…maybe

[cue Beatles sample: cut sharp:]

Come together.

Right Now.


{silence = empty (?) set = atomic}

We now return you to your regularly scheduled reality.

Have a pleasant day, buckle up &

Think of the children.

Think of Other people’s children.
 
 
Chiropteran
14:33 / 27.09.03
(Melissa & Ev): "Text separates reality tunnel user from reality tunnel user at one remove from IRL.

And that means a lot of meaning is relative, shifting, lost & not found drowned down the drain causing pain to your brain because there is a person behind every performance and if U and I all stopped taking the stage/world/reality tunnel weave interface, well then, there’d be only silence until we broke it."


Assuming that the "meaning" in the text originates from the "author" and not the text itself. When divorced from linear and "communication"-based expectations, text can be liberated from the author and revealed as a machine that generates/reveals meaning - /a means of revealing/ - The cut-up is not a transaction between author and reader with text as the medium of exchange. The author removes hirself through the process, and text and reader dance together unbound. Whose meaning? The cut-up speaks in the voice of the subconcious reader, reader and read are inseparable, in way the writer does not share. The author is the pimp of text, but ze doesn't take part in the act - and no $$ changes hands - meaning is created spontaneously and the Creator lies behind the reader's eyes.

reduced to grains, each sort of a micro that I haven't bothered to love coagula! "Drawing sound" is just in the voice of the subconcious reader, reader and a lot of meaning is relative, shifting, lost & not course, by random, I mean that work of genius, and is something that I think every adventurous sound might work as a decent creation. It creates sound a little different (manipulation of prerecorded expectations, text can be liberated from stepping on a piece of charcoal. the writer does not share to form a larger picture for the programs you suggested. it offers a distinctly different conversation today which resolved (sic perfect for another (musical) project I'm working off if they were not around. That is: divorced from linear and "communication"-based part in the act - and no $$ lies behind the reader.

*click*

~L
 
 
I The Golden Dawn-nie Darko U
10:14 / 28.09.03
!?thæ †ex† iz ‡llus‡on¿¡ cu† up or no†. †here is a †ransm‡†or of s‡gn@l and rec‡ever of s‡gn@l. and that iz *@ll*.

±S-wordz have no meaning±

±people make meaning±
 
 
Chiropteran
19:21 / 28.09.03
"†here is a †ransm‡†or of s‡gn@l and rec‡ever of s‡gn@l. and that iz *@ll*."

People make meaning, yes. But are there two people involved or only one? For normal, communicative writing there are usually assumed to be two (only the degree of remove is at issue), but cut-up or alleatoric writing seems to be a different animal. Let me be more specific than above: the cut-up is a machine that generates (one might less contentiously say "inspires") meaning in the reader. All text does this, but the cut-up makes the process more explicit than text written "by" someone "to" an audience.

The text itself is no more nor less an illusion than anything else, depending on your ontological outlook. The deception inherant in text is the appearance of intimacy, of human contact. When text is stripped of this mask and approached as its own entity, it can be dealt with more-or-less on its own terms. There is no human contact, just interaction between text and the reader. Every page is a rune-toss, with a greater or lesser degree of assumed "consensual" content (is it consent if one is not aware of the alternatives?).

Still, as with so many discussions of "illusion" versus "reality," when it comes into contact with our actual experience in day-to-day life, we would do well to acknowledge the relative utility of text for our usual purposes. The post-it note "Steve - pick up milk on way home from work" contains all the information it needs to, whether or not it transmits any deep Truth. If one is willing to acknowledge (at least tacitly) its inherant limitations, text works well as a tool of communication or information storage. Just don't idealize(/idolize) it, whether through adoration or condemnation, and everything works just fine.

About the only people these questions are routinely relevant to are people who work with text on a deeper-than-usual level: writers, philosophers, magickians, propagandists and the like. True, the typical reader could probably benefit from a little consideration of the limitations of the written word, but the ontological implications of text just aren't as relevant to most people on a practical level. (Or are they? Someone counter-argue that, please?)

[this whole thing is such rot to the original thread, but it's kind of interesting nonetheless]

~L
 
 
Seth
14:35 / 05.10.03
My random pieces may be slightly more chaotic than you're looking for, considering I don't care if things are in tune or in time (if you listen to any piece of randomised sound more than once it'll begin to sound composed. What I might try to do is to make a piece that's designed for the random button on the CD player). I do it using three minidisc players, cutting up the piece into timed sections (or arbitrarily), then hitting the Random button. If you're programming beats I'd suggest using dice and then prettying up the results afterwards. There are plenty of people who play with indeterminacy in music (Cage and Yasunao Tone spring instantly to mind). Cage used I-Ching, Tone used deliberately sabotaged CDs in crappy old CD players that would malfunction easier. You could also check out Koan, it's a generative program which creates music from a set of user-defined parameters as opposed to a set piece of music (not random, but you may still find it of interest). Sadly, the medium of recorded sound just doesn't lend itself to these kind of experiments unless you deliberately break a few consensus rules.
 
 
at the scarwash
01:17 / 06.10.03
hey meester lepidopteran--let us know what you end up using and how it works.
 
 
Chiropteran
02:29 / 06.10.03
Seth: Actually, that's pretty much the type of thing I'm doing - random intercutting, just on a very small scale. The particular thing I was looking for the software for was something Burroughs talked about, where a sound can be broken up into microscopic intervals and scrambled, but the listener can still identify the speaker and the emotional content of what was being said, even though the sound is mangled. His thought was (more or less) that this method could be used to bypass the words and distill the subtext, and could be intercut with different sounds to blend the two in the mind of the listener.

I used to use (when I had access through school) a music composition program called Max - it was, if you'll pardon my adolescent enthusiasm, frikkin' awesome! It is designed for real-time interactivity and improvisation, and I'll come back and tell y'all about it when I'm more awake. It's been a long weekend...

testpattern: I'll let you know how it works out, but I'm probably on hold with this until at least the beginning of November (see the Halloween thread for details...).

~L
 
 
MrCoffeeBean
07:32 / 08.10.03
throw youre computor out the window, go buy a cheap as fuck walkman, tapes are cooler tha n anything digital. Go out on the streets and play old school style. Guarantee much better effect than any software ever can give you.

computors are boring.
 
 
Seth
08:02 / 08.10.03
Dunno about boring, but they certainly do fuck up a lot of people's music. The visual sense can totally impair the tunes, when you listen to it you can see the bars of 4/4 drifting past. I hate blocky sounding programming.
 
 
Chiropteran
13:10 / 08.10.03
Nah, I think I'll stick with my computer for now.

(I do agree about the scrolling barlines and time restrictions, but there are plenty of ways not to have to deal with that.)

~L
 
 
grant
12:04 / 30.10.03
Ok, the latest TapeOp magazine (which you really should be getting - it's free and it's excellent, do a web search and you'll find the subscription site) had a piece on digital distortion. They had two recommendations you might find useful for making random, "broken" sound.

One involves the "strip silence" or "Identify Silence" command. I'm not familiar with this myself, so I'll just copy what they say: set the attack fast, the release slow, and match the threshold dB to the sample you're using. "This technique (if done right) will create many small, random audio segments."

The second one is totally more my speed. You take your audio track and burn it to an audio CD. Then you take extra-fine, 220-grit sandpaper and randomly scratch the bottom of the CD. Play it on a cheap CD player or boombox hooked back up to your computer or DAT or whatever, and: "You should hear skips, jumps, and repeating sections."
 
 
Chiropteran
12:34 / 30.10.03
grant: Thanks for bumping this back up. I'm going to check out the magazine - it sounds like it could be seriously relevant to upcoming projects.

~L
 
 
wabi
08:00 / 06.11.03
Lepidopteran: Are you thinking of something like this?

It's not great, but I created it in about 10 minutes. I took a wave file of speech, chopped it up in Recycle, then assigned each of the slices to a sampler in Fruityloops. Fruityloops has a "random" function that I used to create random patterns for each sampler. I let the random function change the pitch of the samples, but you could also keep the pitch the same, if you wanted to.

I've never made a cut-up like this before, and it's kind of fascinating...each time I listen to it, I can hear words being spoken, although they aren't words that were in the original sample...
 
 
Chiropteran
12:54 / 06.11.03
wabi: yeah, that's a lot like some of the stuff I'm playing with. I'm just looking around for sound utilities and techniques that will help me get different effects.

Now that the Halloween festival has passed, I'll probably have a little more time to work on this stuff.

~L
 
  
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