ML161074
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Subject 1: (Interview). Subtitle: Tamara Smith, Alex Chadwick. Timecode In: 00:17:39. Timecode out: 00:29:19. Notes: Workshop attendee. Subject 2: (Interview). Subtitle: Gregory Budney, Alex Chadwick. Timecode In: 00:33:06. Timecode out: 00:47:08. Notes: Sound recording workshop discussion. Equipment Notes: Decoded MS stereo. Elevation: 2060 m. Show: LNS Log of DAT #: 5 Engineer: Fox Date: June 4, 2001 17:41-17:52 Tamara My name is Tamara Smith and I'm doing a PHD in computer music at CCRMA, Center for Computer Research in Music and Acoustics. And that's at Stanford. 17:52 Shawn And where are you from? 17:54 Tamara Canada. Originally from northern Ontario but I call myself a Montrealer cause I've spent most of my time there. 18:04 Shawn And what's your undergraduate degree in? 18:06 t It's in music, piano and performance. 18:09 s From where? 18:10 t From McGill in Montreal. 18:12 s What is your doctorate in? 18:16 t That's a good question. I do a lot of electrical engineering, computer science, signal processing and I'm studying right with Julia Smith who does physical modeling so I also have some acoustics and physics in there as well. And that's what we try to do, is model acoustic systems particularly those of acoustic instruments. It's certainly a multidisciplinary field, particularly when my basic undergraduate is primarily in performance so I've kind of had to pick up these pieces along the way. In my masters I took up a lot of computer programming and tried to fill in the gaps. 19:04 s I am gonna wait for this truck to leave, for a moment. Tell me what brought you here. Why are you here? 19:30 Waiting for truck to pass 19:58 s Okay, I'm sorry, so why did you come to the workshop? 20:01-20:38 t Do you want the short story or the longer story? I'll try to . . Most of the people at our lab model acoustic instruments. What I'm interested in doing is taking other acoustic systems and modeling those and creating new musical instruments out of them. When I heard songs of the secada, particularly, I was pretty fascinated by it and I thought it had a lot of musical potential so I started studying the cicada, reading a lot of papers figuring out how the sound mechanism works. 20:38 t I've come pretty close but I don't have an actual source with which to compare it, so I'm hoping to be able to apply for a grant next year to go to Australia and record the cicadas there because those are the ones that I've been reading about and trying to model When I saw this recording course, I thought if I learned how to do this then can go to Australia with the confidence that I can come back with some decent data. 21:13 s What are you learning here? 21:15-22:01 t We're learning different mic-ing techniques, or at least microphones so far, what type of microphones to use under different conditions. Which for me is good cause it's very different again from the studio. You would never see a shotgun or a parabolic reflector in the studio. We just learned a little bit how to avoid background noise from streams and wind. These are also things that you would never find in the studio, so it's actually quite useful. Again, it's only the second day so I hope I'll learn a little bit more. But also, I find just by practicing and going out there listening to your recordings you learn a lot just by doing that, trial and error. 22:06 s Have you run across the name Rex Cocroft in any of the papers you've looked at. He's a insect communications person. We now he's at the University of Missouri now and he's done amazing recordings. We did a piece about him. Carolyn can get it for you if you like. Many insects actually communicate by vibrations in the substrate of the stem or branch that they are on. The can create very very loud vibrations in it, if ... (Notes truncated)
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- Cataloged
- 11 May 2010 - David McCartt
- Digitized
- 11 May 2010 - David McCartt
- Edited
- 11 May 2010 - David McCartt