Process Development Exercise Number 3
	For this exercise I compiled a brief musical piece in the style of Minimalism. I attempted to assemble something I would consider a musical tune with a minimal number of instruments and notes. Minimalist music is also usually highly repetitive, with specific sections notes.
	The audio for this work was entirely created inside pro-tools by MIDI tracks and the Expand 2 plug-in.
	Sample 1 consists of a simple bass line. A note is played two times per bar, each lasting half of the bar. The notes used in this sample do not change in pitch, however throughout the course of the work the volume does change, slowly dropping and rising in even proportion twice. The intention was to add subtle variation to the bass line of the music. The notes are played by a bass guitar, chosen because of it's clean sound.
	Sample 2 is played by synthesiser, this sample consists of 4 notes in total. The first half of the sample varies between 2 notes, and the final half varies between the other two. Each note takes a full bar. The synthesiser contains the most complicated individual sound, with variations in pitch and harmonics within the same note. Other instruments were tried, but most did not fill the piece in sufficiently to my ear.
	Sample 3 is played by a solo violin, though it's sound seems synthetic rather than sampled. This sample has the busiest arrangement, although the total number of pitches used is only 4. It consists of sets of 12 notes over two bars varying between two pitches, followed by another set of 12 notes over two bars at two lower pitches. There is then a gap of two bars before this pattern resumes.

	The overall intent was that this piece could be appreciable as music, yet use as few elements as possible. This must be remembered when considering each sample, as none have a specific point to made on their own.
	I think that I have put together a simple piece that could be listened too, if a little short, with the use of only 10 distinct pitches and repetition.




Process Development Exercise Number 6
	For this recording I used the theme of a journey, In this case I selected one of the most common place journeys - The commute. I selected this because material could be practically recorded, and any recording would show how much sound is tuned out because of the familiarity of a given environment.
	By taking small chunks of sound from a full recording of a trip and arranging them I hope to demonstrate that there are many sounds people do not hear on the trip to work or back home, and that some of them have interesting properties.

	To capture the audio I used a Zoom H2N, a portable recorder with 4 on-board microphones. The recorder was set to 2 channel surround mode, which records from all microphones but mixes into two channels.
	Beginning from JMC I turned the recorder on and carried it with me until I returned home, the total trip time was approximately 1 hour. At all times the recorder was engaged and this PDE was assembled entirely with the audio captured.
	The trip itself had several legs: Walk to the Station, Train to Pymble, Walk to Car and the Drive Home.
	Unfortunately it was a windy day and much of my recorded audio had signifigant wind noise, as a result my first sample used was at the train station; which missed the walk from JMC.
	The final sound-scape consisted of 7 5-15 second long samples each chosen to highlight a certain aspect noise in the trip that would normally go un-noticed.
	The first sample was of a train pulling into the station, the mechanics of the train can be heard in some detail, starting with the motors being used for regenerative braking. Following this can be heard the brake lines releasing pressure and brakes squeaking. Other sounds include the click-clack of wheels passing over joints and an announcement. 
	The second sample was the high-pitched noise that can be heard from the rails when a train departs. This is because trains vibrate the tracks as they move and the speed of sound in steel means that this can be heard long after the train itself is gone. A common sound during a commute.
	The Third sample was from inside the train and has the dull sound of air conditioning and pneumatic pumps in the back-ground. The main sound to be heard is the train passing over a switch.
 	The forth sample was of the door of the train opening at the destination, the valves and belts used to make the doors work can be heard in clear detail.
	 The fifth sample was of the train pulling away from the station, the motors can be heard clearly along with the hum of the transformers and air conditioning fans.
	The sixth sample was of a main road I walk down during the trip, a truck can be heard going past along with several cars. This is an extremely common sound and is almost entirely ignored unless loud enough.
	 The seventh sample is a brief recording of the walk to the car, unfortunately a few things were heard during the walk but the time limit on the PDE prevented me from giving interesting details.
	The PDE time limit was the primary limit to this recording, and along with wind noise that meant that a signifigant amount of audio could not be included. That being said I think that the final product shows that many sounds are heard in every day life that are not noticed, many of them have interesting properties.


PDE 6 Sample 2

PDE 6 Sample 3

Process Development Exercise Number 2
	For this exercise I editing an existing song by replacing some of the tracks with instruments that are not commonly found within the genre of music. This is a simple re-mix but it explores the idea of instruments filling unusual roles.
	The audio for this work was created inside pro-tools by MIDI tracks and the Expand 2 plug-in. The existing audio was recorded previously for another piece of work.
	Each sample contains a new track that was added in place of another, or added in as new.
	Sample 1 contains a synth track that was added in as new. I started with this track because synth lines are not entirely uncommon within the pop world, giving a good starting point. In this instance the unusual element is the volume in the mix, most synth tracks are not features but rather intended as background only. I added the track with high volume so as to make it stand out.
	Sample 2 contains a double-bass track, this replaced the kick-drum. It plays notes at the same time as the kick did and is of a similar pitch and duration. This shows that instruments that are very different can still be used for similar roles. I think that this was a successful change, although implementing it did require changes to the existing bass line as the synth voice harmonised in a dissonant fashion with the un-altered bass.
	Sample 3 contains a violin track, this replaced the snare drum. Again it plays at the same time as the snare did, however this was less successful than sample 2 because I was not as strict about shaping the notes of the violin to those of the snare.

	This work shows that it is possible to change the core instruments of a genre without disturbing the music, however it also shows that if taken too far then the differences become too obvious, as with sample 3.

Process Development Exercise Number 4
	For this recording I attempted an homage to "The art of Noises" by Russolo. To begin with I limited myself to only mechanical noises, Russolo had the idea that the traditional orchestra was too limiting. He claimed that he could break the orchestra into 4 basic categories, and that noises could be used to expand this. My own work will be an attempt to use various mechanical noises in a musical fashion.

	To capture the audio I used a Zoom H2N, a portable recorder with 4 on-board microphones. The recorder was set to 2 channel surround mode, which records from all microphones but mixes into two channels.
	The audio for this exercise was collected from trains, cars and air conditioners.
	Sample 1 consists of a handbrake and the noise of an engine starting, both from a car. I placed a handbrake noise on the first beat and the third-and-a-half beat of every 4-beat bar. This sets up the basic beat of the piece. The engine start noise runs from the third beat to the end of each bar, and was intended to act as a progressive element.
	Sample 2 consists of a car engine at high revolution and an air conditioner during normal operation. With the car engine leading the first two beats of the bar and the air conditioner the later half. This sample runs slightly shorter than Sample 1, intended to add some space on the piece at the beginning and end; this is something of a lead-in and lead-out that is often a musical feature. The noises were picked to be a sort of push-pull action, with the car operating beyond it's normal level but the air conditioner at a standard level, I intended to setup a stress/relief pattern.
	Sample 3 consists of a freight train passing by. going from left to right along the piece it is intended as a sort of melody. There is minimal repetition during the travel from one side to the other and it therefore adds a touch of unpredictability to the piece. The point of that is that machines are predictable, but without prior knowledge they can seem unpredictable; this is a property that is often shared with standard musical pieces. By breaking up the complete predictability of the rhythm I hope to have added more musical flare to the work.
	Sample 3 is also the only non-modified sound in use, and represents a "complete sound".

	I think that this work is overall a good product, and relates back to "The art of noises" by attempting to create musical context for mechanical instruments. I believe that I established a beat and basic melody for the work, with supportive elements.


PDE 5

PDE 5 Sample 1

PDE 5 Sample 2

PDE 5 Sample 3

Process Development Exercise Number 1
	For this exercise I selected Calm as my emotion. After some thought I found it difficult to think of sound sources in the natural world that would be both appropriate and practical to capture, however I did think of a piece of music that made me feel calm when played.
	I decided to replicate the piano version of this song inside pro-tools, hoping to make a calm track.
	The audio for this work was created inside pro-tools by MIDI tracks and the Expand 2 plug-in. Because of this there are no samples per se, the sample that accompanies the final composition is the original recording of the piano version of the track.
	In order to replicate the song I listened back to the original track and slowly processed individual notes into a MIDI track. To begin with I determined the key of the track, E flat Mayor. By tapping the beat I also determined the approximate tempo of the track.
	With these factors as a basis the process to place individual notes began. This took a considerable amount of time.
	The final result is reasonably convincing, however the velocity of attack of individual notes, and the variations in tempo that a human performance gives are the main giveaways.
	Overall this was a long process, but a successful one. The new version of the track still feels calm, though perhaps less so than the original because of the attack of individual notes.


Process Development Exercise Number 4
	For this recording I attempted an homage to "The art of Noises" by Russolo. To begin with I limited myself to only mechanical noises, Russolo had the idea that the traditional orchestra was too limiting. He claimed that he could break the orchestra into 4 basic categories, and that noises could be used to expand this. My own work will be an attempt to use various mechanical noises in a musical fashion.

	To capture the audio I used a Zoom H2N, a portable recorder with 4 on-board microphones. The recorder was set to 2 channel surround mode, which records from all microphones but mixes into two channels.
	The audio for this exercise was collected from trains, cars and air conditioners.
	Sample 1 consists of a handbrake and the noise of an engine starting, both from a car. I placed a handbrake noise on the first beat and the third-and-a-half beat of every 4-beat bar. This sets up the basic beat of the piece. The engine start noise runs from the third beat to the end of each bar, and was intended to act as a progressive element.
	Sample 2 consists of a car engine at high revolution and an air conditioner during normal operation. With the car engine leading the first two beats of the bar and the air conditioner the later half. This sample runs slightly shorter than Sample 1, intended to add some space on the piece at the beginning and end; this is something of a lead-in and lead-out that is often a musical feature. The noises were picked to be a sort of push-pull action, with the car operating beyond it's normal level but the air conditioner at a standard level, I intended to setup a stress/relief pattern.
	Sample 3 consists of a freight train passing by. going from left to right along the piece it is intended as a sort of melody. There is minimal repetition during the travel from one side to the other and it therefore adds a touch of unpredictability to the piece. The point of that is that machines are predictable, but without prior knowledge they can seem unpredictable; this is a property that is often shared with standard musical pieces. By breaking up the complete predictability of the rhythm I hope to have added more musical flare to the work.
	Sample 3 is also the only non-modified sound in use, and represents a "complete sound".

	I think that this work is overall a good product, and relates back to "The art of noises" by attempting to create musical context for mechanical instruments. I believe that I established a beat and basic melody for the work, with supportive elements.


Alex Gielis