Just Now, Feb 27

I just discovered another superflute! The Octopus, an 8-channel electret microphone system built for use in a composition for spatially diffused flute by Vîctor Adân, performed by Wilfrido Terrazas.

slight variation of the schematic I used- http://www.mp3forkidz.com/mic/phantxy.html - maybe I will try this for some other ones.

Sometime, Feb

I've come to a couple harsh realizations- most of the mic ideas I've had are going to have to exist conceptually, maybe even physically, but not aurally for the time being.  Unfortunately there's a shortage of soundcards within the ensemble, so I'll have to make do with what I have until that problem is remedied, somehow.  I've come to see this as a blessing disguised as a shortcoming, because it forces me to limit my sound palette, something that inevitably comes in handy when composing.  Violin and cello will each have one mic; percussion and piano will each have two.  If I decide to write myself into this piece, I'll steal one of the piano's mics.  I've also come to realize something that everyone's been telling me from the start, which I sort of ignored- the composition will be what defines the miking, not the other way around.  But I've been thinking about the structure of sounds over the past couple weeks, and I think I've got it determined enough. Violin and cello will be bridge-amplified; percussion will have cymbal and snare; piano will have bench and keys.  The piece will be a series of interchanging duos between strings and percussion, with modular piano part floating about.  Like pecan pie.

Sad point on the wearable speakers- as of yet I've had no responses to my inquiries.  I'll keep trying, while turning some of my energy over to the alternatives.

Feb 22

Met with pianist- Dave wants two volume pedals, to control effects like harmonizing and distortion. The conversation with him made me realize I need to think more carefully about my composition when placing the mic array, or maybe just construct the array so it is variable according to the piece.  We decided two mics for the keys, one for the bench, and two right behind the soundboard (upright) or underneath (grand/baby).  I need some gooseneck.

Feb 21

Met with violinist- Kiku wants the mic to clip onto her bridge, using a standard hair clip pin, with a neck to allow variable positioning, such as in front or behind the bridge, or inside the body.  I'd also like to experiment with some fingerboard mikings, although I suspect it's not going to be a sound I like, because of the small size of the instrument.  I think part of my brain imagines it'll sound like the bass with Mark Dresser's modifications, and my logic says it won't. 

Tuesday Feb 10

I did a lot of research on the wearable speakers, and spoke to my dad, who's a physicist.  I've found technology that  seems perfect- carbon nanotube thin film loudspeakers, developed by physicists in China- and now the difficulty will be getting my hands on it.  I've tried contacting a number of people in the field, but am not expecting responses, so I've also asked my dad and a physicist friend of mine to reach out, hoping that the other end will be more responsive to someone who knows what they're talking about.  Several people have worked on carbon nanotube sheets or films, although the article by the Chinese is the only I've seen referencing specific use with sound.  However, I think if I can get a lab to manufacture films for me I can probably convince them to hook it up to electrodes as well. 

I have really high hopes for this, but am also sort of dubious that I'll be able to get anyone's attention- everyone seems to be really excited about nanotechnology right now, so probably the physicists working on it are inundated with emails. 

I've also been thinking of alternative means of creating wearable speakers, in the event that I will not be able to use CNT films.  A sound artist friend of mine, Liz Phillips, did a piece last year using piezo disc speakers embedded in large, lightweight resonators, like styrofoam.  Since the speakers operate on vibration, they'll use any surface they're placed on as a sounding board.  I could conceivably design stiff portions into the speaker dresses, where some hard material could be sewn in and piezos embedded.  The sound is not going to be of the quality I'm looking for, though, so I hope I can figure it out with the CNT films.

Sunday Feb 8

Met with percussionist to discuss microphone array.  We decided to put one microphone inside the snare, one inside the floor tom, two each underneath two cymbals, and one accessory mic, used for toys that have one sound that would be nice to be able to amplify.  He'll need two volume pedals, one to control the six primary mics and one to control the single accessory mic.  I'd like to get some tubing for the cymbal mics, allowing extra slack on the cable length so we can move the mics to the top of the cymbals if some composer desires it.  For my purposes I prefer the underneath boomy sound, but I want to maintain versatility in the construction of this system.  The tom and snare mics will  be held in place with the existing hardward inside the drum shell, suspended in the middle.

Additional parts to get/order: volume pedals, or parts to manufacture some easily and cheaply; semi-flexible tubing for cymbal mics; arduinos for volume control (x4)

*EDIT* I will not be constructing my own volume pedals.  It is too time-consuming for a small cost difference. 

Background context

I first started working on the idea of internally amplifying my instrument in 2004, when I wrote my first composition, ether for amplified piccolo and tape.  Since then, I've worked with many composers interested in using primarily those internal sounds, notably a solo amplified flute piece, BX-51, written for me in 2007 by Rama Gottfried.  Last semester I constructed a super-flute, which was an internal amplification system for the alto flute with external triggers for processing control.  Here is video footage from the NIME concert.

Among the challenges I'll come across, a large one will be controlling the system beyond simple amplification.  My biggest difficulty with superflute was my total inability to control it, and to perform it away from the computer.  The sound palette is increased exponentially, and sometimes too much.  I'll need to set limitations in the form of composition if I don't want it to get tiresome to listen to, and to perform, at least until I'm able to master it. (ha).

I've always been really excited to meet musicians who make their instruments sound like something else.  Years ago I discovered Franz Hautzinger, a trumpet player who does a lot of solo work using a single accessory- a mic placed deep inside the bell of his horn.  I was absolutely floored by the sounds he was able to get out of the instrument, and that's inspired me ever since.  His solo albums are Gomberg I and II.  Also Mark Dresser had a custom amplification system built for his upright bass, allowing him to use all sorts of tapping techniques that would otherwise be too soft due to the nature of the instrument and the musical situations Dresser plays.