Analysis and descriptors

Subject: Analysis and descriptors
From: Kevin Austin (
Date: Sun Oct 16 2005 - 16:18:20 EDT

There have been people working on the idea for 50 years.

The conception is fine, the implementation is difficult, in my
experience. I have prepared timeline / descriptions of about 150 -
200 ea pieces, and I am in some cases close to 1/3 to 1/2 real time,
but it's most;y a major butcher job.

I can use them because I wrote them for a (single) specific use.

Below is a copy of the roughed out text timeline for Calon's Minuit.

This text ran at about a 10:1 ratio (but it does contain other
information) ... but that's almost 7 hours, and I came to this with
10 years of experience.

IMV, the discipline of electroacoustic studies is not adequately
developed to seriously create a sub-discipline of ea analysis which
will be coherent and rigorous. Initiatives such as and a
proposed database contribute to the on-going development, but I think
it is difficult to put on the roof while the basement foundation is
as yet incomplete.

The Google example is applicable to words and text. When composers
start providing detailed textual descriptions of their sounds, it
will all be much easier. For now, we work in the trenches.



>Besides, once you have the data you can always reindex it later with
>a more sophisticated automated scheme if it becomes necessary.

Of course. This is patently obvious.

At 21:00 +0100 2005/10/16, Richard Wentk wrote:
>At 19:24 16/10/2005, you wrote:
>>At 10:36 -0400 2005/10/16, Ned Bouhalassa wrote:
>>>On 15-Oct-05, at 11:56 PM, Kevin Austin wrote:
>>>>Such a project would face the same issues that all archiving has
>>>>to, namely, how to sort and catalog so that things can be found.
>>>Keywords might be sufficient.
>>In my experience, this is not "trivial" (*)
>It's trivial in the sense that the perfect is the enemy of the good enough.
>God-like powers of sonic deduction and analysis aren't required -
>just an ability to search a probably quite small database of items
>looking for tags that have a good chance of being common enough to
>be useful.
>This is more or less how Google handles a much bigger database of
>images, and it really is very good at finding things.
>As for not finding soundwalks on Google - remarkably enough, I found
>a Sydney soundwalk by typing in "Sydney" and "soundwalk". And an
>audio example of a iib V I cadence by typing in "iib V I".
>Considering that this collection will be *much* smaller, with a much
>less noisy and ambiguous search space than the tens of billions of
>items indexed by Google, I'd guess the chances of getting something
>useful out of keyword searches would be good enough to make anything
>more complicated unnecessary.
>Besides, once you have the data you can always reindex it later with
>a more sophisticated automated scheme if it becomes necessary.
>But if the idea never gets off the ground in the first place, you'll
>have nothing to index at all.

0:00 Birds, swing, fade up MAIN
0:15 Š + REAR
0:23 vielle histroire
0:34 le jour s'égards + SIDES
0:43 triangulaire - SIDES
0:51 crépescule
0:58 birds into reverberated field - MAIN
1:15 OUT - REAR Stasis
1:17 slow fade up of chord + ABOVE Slow L-R Panning
1:25 voice in & underlying walking
1:33 distant garbled voice +REAR
1:39 traffique (1:40 clickk)
1:48 toujours (minor chord) Stasis
1:57 sans cesse (background clears) -REAR No Panning
2:03 partout (strong reverb) + DIST
2:07 voice out - long chord cresc peaks at
2:14 where reverb begins & fade
2:23 vocal chord
2:25 d'autre
2:27 down gliss + SIDES Slight panning
2:32 lots of strong bass
2:41 quasi upward glisses to :47 - :57 Some spin
2:50 slightly drunken swirling to
2:57 poussière
3:01 la longue calmed with background bell
        +MAIN - REAR +ABOVE + DIST
3:10 low fr. w reverb - MAIN
3:16 fm complex and low freq rumble + SOLO
3:19 le saut, à la bordure voice no reverb +SIDE
3:29 ce que l'homme disembodied voice
3:33 fm complex swell (massed quality) molto cresc :35 +MAIN
3:40 with swirls
3:46 at rest
3:51 static low fm complex dim
3:59 return to stasis
4:02 disembodied voice
4:06 static low fm complex & dim and disembodied voice
4:11 clear voice with other layers which die (swirl to up) and return by
4:27 clear voice, return of background layers (4:30 on)
4:35 échape sub molto crec
4:43 stasis and centering fade out by 4:58
5:00 VOILA - very present
5:07 Regard
5:16 strong lows
5:26 highs, background murmurs, slow swirls, 5:33 some erratic faster until
5:47 relative stasis
5:53 bell, mumble voices and down gliss
6:11 lows and layers of fm, with forceful lows! grows with down gliss, dim
6:26 fm'd voice and begin of languid swirls of fm and glisses
6:45 proceding to relative stasis and suddenly
6:53 swirls and stasis, moving to distant by
7:06 returning closer, quieter
7:12 voice
7:17 strong panned med slow
7:26 faster pan, female ah oui, grunts
7:31 more generalized swirls
7:39 wooden kl'bell : stasis
7:42 voice all around, slow swirls
7:48 long down gliss, chimes
8:07 fms down gliss
8:16 up glisses, crossing more and longer
8:32 swirls of type, losing specific direction by 8:44
8:50 dim and localization into close speakers, dim continues, stasis
9:02 added and lost distances
9:08 with sides and shifts, dim out at 9:18
9:19 FULL attack and fade to 9:24
9:26 cresc of movement (moderate) to stasis by 9:40
9:41 moving in
9:50 solos: spreading to princ
10:03 voice, 10:05 LvB returns to distant reverb
10:19 small bells and out total 10:22
10:24 other world, rear, to sides 10:33 fades out
10:38 sides to front by 10:40 (voice)
10:52 fm glisses (distant) - confusion
10:55 slightly disorinetated swirling begins severe level swings,
slightly drunk
11:20 more and more frunk but beginning to be patterned, but, sudden;y
11:29 boom - a form of stillness, sound floods all around
11:46 begins process of thining
11:59 has settled towards front
12:05 fully about (slight lateral movement) to stasis at
12:17 voice (commentaire) clear left-right (front and side only)
placement 12:21
12:23 panning and motion increasing
12:32 sudden stasis into another, much fuller field
12:36 complete addition of rear speakers, swirls on the waves
12:48 sempre molto cresc
12:59 finding stasis, moving to solos
13:09 begin to add sides, move to swirl, for fade, (:19 - :24)
13:25 to mains and touch of sides adding
13:40 cresc into rear and swirls cresc
13:47 cresc to distant (:55)
14:00 extended wavelike ecstatic swings and wild pans to calming
14:15 stasis (front / rear) move to
14:22 sides move in to solos, and far by
14:31 voice (female) - stasis, support fade until 14:50
14:51 molto cresc on single swing
15:02 follow the wide and distant swings
15:16 voice in mains
15:33 fm complex swings through to 15:42
15:42 full and movement to settled but loud by 15:52
15:55 female voice - center, support cresc
16:05 help in dispersion of sounds
16:18 female in mains; out by 16:31
16:33 fm complex in long slow arc towards, away, mains
16:44 reverbed gliss
16:56 upper and distant, molto dim
17:07 distant female voice kept at low level
17:15 cresc begins
17:22 long slow swing through fields, circular, with mains always in
17:33 slightly maddened swirling, molto cresc to
17:55 virtually everything - held til
18:05 some drops to
18:15 stabilizing of level and placement
18:34 prepare for rear to distant swings
18:47 panning swings and more rapid, unpatterned
19:00 continuing cresc with swings to
19:11 some stasis, some sudden movements to stasis
19:19 prepare for wide swings and incoherent movement
19:35 the sounds continue to approach and swing in from many directions
19:40 sudden stasis BUT
19:46 movement
19:49 maddened movement to
20:13 everything full - move to main
20:24 out
20:30 low slow fade in
20:45 metallic echo with voices far and in slight motion fade out
21:05 silence
21:11 rush of wave (far to main)
21:18 female voice over waves main and solo
21:25 slowly add sides
21:40 slowly add rear
21:55 remove sides
22:00 to mains to full to
22:11 distant to fade
22:20 distant and low, molto cresc to
22:42 NUITS
22:51 OME
22:58 full front (PAROLE)
23:04 swirling in front and to sides
23:14 blurk front - cut!
23:20 rapid fade up from rear, swirl to front
23:31 blurk front, an motion to sides/rear; out by 2:47
23:53 distant - erratic panning and levels, generally cresc until
24:09 begin to have patterned motion, still quite fast and following sounds
24:32 suddent stasis - front moving to distant and quiet
24:45 moving onto listener with some erratic panning to
24:57 drop back, erratic motion, but generally dim
25:00 gradual continuous cresc and varying rates of panning up to
25:28 stasis; interupted by sudden pans
25:40 motion in swim of pan
25:58 swimming in wash, cresc, dim, wide and bouyant
26:16 prepare for spinning from
26:19 into
26:29 voice centering; brief spin (2")
26:34 silence
26:38 main and distant obscurité
26:45 distant, quiet and solo
26:59 to main, to rear by 27:08
27:10 main (voice)
27:14 distant, above, quiet, calmish (some spin)
27:35 fm voice (main) and return to distant; dim
27:52 main; (:53" voice) - fade to quiet
28:08 jamais; silence until
28:12 distant, very rapid into mains
28:25 add side, follow into rear (:37)
28:44 add above and distant; panning over top
29:00 suddenly add in sides
29:10 jump to main and solos; relative stasis
29:27 slowly add sides (erratic)
29:35 main, sides, rear; follow massive cresc right to cut at
29:58 distant, quiet, gradual cresc
30:05 slowly pulling forward
30:17 into main, over sides and rear, cresc, dim
30:25 rear to top and fade
30:40 Mains; add; add; add; cresc
31:07 cresc stabilizes; begins slow, wide spins in time with events
31:28 becomes more drunken and wider in range
31:40 more and wider swings
31:55 stabilizes
31:59 swings, less wide
32:08 voice, stabilized, towards rear 32:18
32:20 soleil cue to rush to front and spin around stage
32:25 wild spins around stage, until
32:40 stasis in rear and side
32:49 move into above and distant
33:01 add solo and collapse into them, only to pan out by
33:10 spins of various motions, quite random, erratic
33:25 erratic, jumpy
33:35 STASIS; silence -
33:41 FULL!! and dim
33:50 lumière de la nuit - MAIN
33:53 gasp - sides (lower) - follow sounds away to
34:14 spin in one and two speaker groups
34:26 solo ens :31
34:35 MAIN - full to solos
34:49 MAIN - add sides (low) - add distant
35:10 remove main
35:17 remove distant - add rear - add above - add distant
35:44 remove rear - keep distant, pan and slight spins, increasing
36:00 more active spins
36:15 prepare to follow wilder pans and spins
36:28 add MAINS until
36:34 remove all but solos (low levels)
36:45 add distant and overhead
36:51 add rear (some spins)
37:06 cresc
37:17 add spins; (sped laughs)
37:26 aim for dizzying and great sweeps
37:37 stabilizing
37:44 heading for MAINs
37:59 MAINS, sides, solos; processed laughter disintegrates
38:04 no sides, fade solos (laughter fades)
38:09 MAINS only; 38:11 NUIT
38:38 add solos; remove MAIN
39:02 add distant
39:09 remove main (dim)
39:22 move to overhead and rear
39:26 choir only
39:30 add rear
39:34 add sides, remove rear
39:43 pan from sides to main
39:52 pan from main to above and distant

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