"Into a Bright Land is in turns crystalline and delicate, warm and lush as a thick blanket." -Create Digital Music
Into a Bright Land instantly envelopes the listener in a warm narrative of lush tape loops and textures that weave a tapestry of field recordings spanning many of California's natural areas. The album came together over a period of several months, informed by a collection of sounds that were inspired from acoustic ecology studies; captured on the shores of Point Reyes to mountains in Big Sur and ancient forests of Yosemite.
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In Reimagined, sound artist Micah Frank re-imagines the parched landscape of drought-striken California through field recordings collected on site and then spectrally dissected, manipulated and resynthesized through additive, granular and filter bank resynthesis in Kyma 7.
His starkly reimagined soundscape was generated entirely from the field recordings processed through spectral analysis and resynthesis.
Tectonic is an immersive installation created in realtime by earthquakes as they occur across the globe. A tightly integrated system between Max/MSP, Google Earth and Symbolic Sound’s Kyma processes earthquake data that is translated into sound synthesis parameters. A USGS XML feed is parsed into numerous fields including magnitude, elevation, time of day and geographical coordinates. These data are mapped to synthetic spectrums and processed by granular, aggregate and subtractive synthesis.
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Reimagined : Synthesized Soundscapes of California by Micah Frank
Through a combination of low rainfall and high temperatures, California is experiencing its worst drought in 1200 years. From September through October 2014, Micah Frank embarked on a soundscape ecology project to create a sonic profile of California parks, their biophonies and geophonies. But to his surprise, each park he visited was like a ghost world. Although he was able to capture geophonic sounds like wind and rain, there were almost no biophonic sounds of birds or other animals.
His starkly reimagined soundscape was generated entirely from the field recordings processed through spectral analysis and resynthesis.
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Worked with film composer Andrew Lockington to help harvest sounds for the score for San Andreas.
Andrew’s idea was to create a palette of content that could support the composition process and had a meaningful relationship to the film’s main theme - earthquakes.
The SAESI Kontakt instrument was built from content generated by real-time seismic activity along the San Andreas fault in California. From May 1st until May 27th, 2014 seismic event data was recorded from the US Geological Survey and relayed to 6 sound synthesis engines. A collection of the generated content was then extracted and reprogrammed as a Kontakt instrument for use with a standard keyboard controller.
Data Sources and Parsing
Using a custom Max patch we are able to ping the US Geological Survey's realtime feed of seismic activity around the globe. The data is refreshed approximately every 15 seconds. For this particular project we chose to filter only data arriving between -117 and -124 degrees longitude and between 32 and 42 degrees latitude - more specifically, the San Andreas fault line.
From each seismic event, we can extrapolate data that is then fed to the sound engine. The following parameters are employed: Density, Magnitude, Latitude, Longitude, Depth (elevation). The values for each parameter are scaled and then transmitted via OSC to the sound design computer. OSC is a protocol similar to MIDI but is superior in that it can, among other things, send strings at a high resolution.
The Sound Computer
On the sound synthesis side of the project a Kyma sound computer has been used to build and run 6 independent sound engines. The Kyma environment is superior, not only its sound quality output, but also in its programmability. Each sound engine uses a different synthesis method that was recorded simultaneously, per event, for 20 seconds (when something good arrived from California!). Each sound engine has been captured to an independent audio file for further use in Kontakt.
The sound engines are as follows:
AtomicMachines - Uses resynthesis to read the partials from a string instrument, french horn and field recordings. The partials are then spectrally morphed based on the parameters received from the seismic data.
CracklingWorld - A cloud bank resynthesis engine. It generates granular, glassy sounds based on the input it receives.
LiquidHum - A hybrid resynthesis and vocoder filterbank engine.
PizzicatoGrains - An array of various pizzicato string samples, analyzed and resynthesized in realtime based on the data input.
RumbleSynths - Similar to AtomicMachines but different ranges of input and random seed values.
ResoDrills - Synthetic spectrums generated from the data and run through two parallel harmonic resonators. The earthquake data dictates which partials are constructed.
The SAESI Kontakt Instrument
Each event instrument layers the output of all six engines into a single keymapped program - containing audio files - one per sound engine. The instrument user can then modify the balance, transposition and tuning of each engine further.
This barrel cactus was set up with a short shotgun mic and a dual pickup system with a customized preamp. The shotgun mic’s response was unenthusiastic. The contact mics however, revealed a series of richly detailed stereo sounds. They are separated here into two racks - plucked.adg and scraped.adg.
Download Amplified Cactus
While abroad in Israel, I found my hotel room equipped with a vintage upright piano. After a few attempts to create a conventional upright piano recording, the plan was aborted due to outside noise. Instead, I jammed paperclips, seashells, leaves and pieces of plastic into the piano strings and recorded two octaves of prepared piano tones and noises.
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Junction is a sound sculpture generated in real time by thousands of New York City taxi cabs. New York City’s Traffic Management Center has over 200 closed-circuit cameras installed throughout the metropolitan area. These cameras are broadcast 24 hours per day, televised and online. Junction utilizes these cameras in Manhattan’s busiest intersections, compiling them into a grid and parsing out yellow taxis.
Every tracked taxi becomes a miniature element in a grander realtime sonification, their movements directly affecting the outcome. A taxi’s position might control only one partial of a complex frequency spectrum, or a single frame of a granular cloud.
