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In this section, the electronic synthesis hits hammer in rhythm with locally prominent piano pitches; logistically, it is limited to five available hits for each pad. At m. 300, there is a quick iteration through all five. Then it shifts to a sustained coda section: repeated low piano notes, with simple-ratio sawtooth 8. slightly phase-detuned to create a slow internal motion. An additional synth voice adds upon these shapes to expand them in size and complexity, with yet a third voice of filtered noise fading in and out. shapes American Engineer 2.4.1 Design and Preparation 2.4 Cardinality Aleph Two, American Engineer had its technical roots in a previous live performance system, named Industry, which was the rasterbased counterpart to Oscilloscope 3D. The name Industry came from the source materials originally used for its textures: photos from the Vitkovice Like Heritage Site, a sprawling post-industrial site in Ostrava, Czech Republic, rife with photogenic machinery in various states of decay. I chose audio sources that reflected this aesthetic. The performance system was itself a continuation of previous experiments with (non-3D) matrix graphics, Industrial simple shape displacements, rotations, kaleidoscope effects, and so forth, on shapes (herein denoted as the ‘screens’). The textures (i.e. the source with applied to those shapes could also be manipulated via any effect I chose. Since the source footage does not reflect any objective quality of the source sounds (or vice versa), this system aimed to take these typically images) 43
Parameters affecting all three oscillators. -Volume envelope -Just Intonation vs Equal Temperament Three copes of the same module, each defining the output of an oscillator Available waveform sources: -Sine -Phasor -Square wave (previous two have definable duty cycle and duty cycle LFO) -Noise (with bandpass filter) -Sound file Figure 4 – Software interface for cue and pad definition in Cardinality Aleph Two 44
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American Engineer by Daniel Iglesia
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