This artwork was influenced by the article ‘Ambient 1: Music for Airports’, which described the composition method allowing me to recreate the idea applying a new concept. I explored cacophonies sounds of orchestral instruments and synthesizers, for a total of 10 different instruments, combining several melodic articulations with different playing times, intensity, density and dynamics to be randomly arranged.

https://reverbmachine.com/blog/deconstructing-brian-eno-music-for-airports/?ph=a8d856f075fe696e4fe44033

Graphic score designed by Brian Eno for ‘Ambient 1: Music for Airports’, which demonstrates how sounds were organized.

While producing this piece, the loops were recorded in pairs so that one loop settings complements the other, thus creating 16 loops in total using variations in ADSR and instrument timbres. I divided the melodic range in two relative musical scales (A harmonic minor and C major pentatonic) : one with notes in the range of C0 - C3 and the second with a range of C3 - C6, using different instruments to performe with a duration of approximately 2:20. Once the automations were written, I enabled the record and recorded different versions of the same loop until they could all be combined.

With only 89 BPM, this composition does not take long to establish the mood and lead the listener to a more serene and peaceful state, where the harmonic modulations between the melodies cause a sense of dynamics within the song throughout its 16 minutes of duration.

To implement the composition for fxhash, the Web Audio Api was used for volume control, frequency filters, compression, Impulse Response convolution and for the analysis of the FFT of the audio files. For each hash, the convolution, frequency filter and compression effects will be customized, as well as the order of the loops played to create greater variability and different perceptions of the same composition.

The visual part was built by @RanggaPurAji who created the textures and the initial concept for the work that allowed me to develop the visual modulations through the Fourier Transform.

To create the color modulation I defined two FFT readers, one for each loop that is played simultaneously, varying the RGB and HSV values of two gradients that are being applied in Hydra's 'DIFF' mode - this mode results in the difference between the gradient itself and the image to which it is applied. With this, each chosen loop will generate a different FFT reading and consequently creating a different color filter - a good suggestion is to use the keyboard functions to see how each filter is working, leaving only a certain track with volume and analyze how the color will behave. The speed of some modulations also depends on the intensity of the FFT reading, causing the work to gain more speed during the most intense parts of the song and dynamics during transitions between loops.

You can click on the canvas of the work to start the song by playing 2 overlapping loops, and use keys 1 and 2 to control the direct volume and the convolution volume of track 1; keys 3 and 4 control the direct volume and the convolution volume of track 2. There is a 30% chance that the player will choose only one track at a time instead of two.

You can change the rendering resolution of the work in live mode by zooming out or zooming in on the web page and reloading - Useful if you want to save your png with high resolution (zoom out increases the quality and zoom in decreases).

KAKOFONI POEM

Desir lembut perlahan merayap

Sayup-sayup selimuti ruang dengar

Membangun saturasi kakofoni

.

Sem te ouvir me ouço

no ranger dos ossos

estalar-te-ei vossos

.

Gaung dan gema berubah buram

Bergejolak diantara riuh

Terakumulasi rayakan suspensi

.

Daquele gemido kakofoni

um suspiro sistemático

sente o ruído acusmático

.

Takdir dan nasib

Ketetapan dan pilihan

Interferensi yang berdampak

Lalu kekal akan tetap kekal

.

E pelo som que te espero

uma miríade de insetos ou revoada

uma orquestra inteira ecoada

no vazio de sua palavra, venero