ATEC_ProjectionMapping: Will Russek - Assignment II

Composition 1: Llama Head - Greys

Concept

What I wanted to work with for this project was integrating MIDI Controls through Ableton Live 9 into MadMapper, so that I could work with simple lines and 2D shapes expressively to the rhythm and timbre of the music. For the first llama head, I took heavy inspiration from an old Playstation 1 game called 'Vib-Ribbon' pictured below. I wanted to achieve the minimal wireframe look while also creating sporadic motion that give emphasis to the sound.

Vib-Ribbon, PS1, 1999

Process

For my first go at using MIDI control through Ableton, I kept the amount of inputs relatively small. The first element of my setup was creating an Ableton Project where I could sync the tempo of the audio to the MIDI I would eventually create. I used the song False Noise - Greys, which happened to be at 120bpm. My first issue with creating my composition around this song was that the breakdown was 4 bars too long. Luckily, within the Ableton project I can trim out and fade sections to my liking, and allow the track to still play smoothly (see 1). To create the actions that I would eventually send into MadMapper, I created a MIDI Track (CTRL+Shift+T) and split the song into colored sections. Anything of the same color can be repeated (I found this method to speed up my process). The last step in Ableton is to send your MIDI outs through "MadMapper In". My favorite thing about this is I learned you have up to 16 channels of MIDI, which I ended up abusing in my next compositions (see 2).

1. Fades to transition to new section. 2. Setting up MIDI Output; 16 channels.

To handle this information inside of MadMapper, I opened the Controls List (CTRL+L). Within the Controls List, you have access to all kinds of external data interfaces. I just stuck with MIDI. You can right click almost any parameter throughout MadMapper and add a MIDI control. The most expressive feature in MadMapper is the option to use "Note with velocity" (see 1). By changing the velocity of the note in Ableton, you can control the value of effects in MadMapper. For example, if you have the Opacity parameter control by Note with Velocity, there are 128 velocity values (0-127) that are then applied to the Opacity percentage (0-100%). I made the best use of this with the Auto Shake on the Llama outline.

Using the filters within MadMappers MIDI Control allow to shape your input values. My favorite filter has been the Attack Release filter (see 2), since you can have certain parameters ease in and ease out at different speeds.

1. Note with velocity. 2. Attack Release Filter.

Interpretation

This first composition was, for me, an attempt at interpreting the sound of music into physical objects. I wanted to capture each drum transient and have it effect the llama head directly. I wanted to emphasize every large sound in the mix, like the scrolling background element of the bass sound, as well as highlight small intricate moments like the subtle rimshots in between each large hit.

Composition 2: Llama Head - Wildberry

Concept

After learning about the multiple MIDI channel capability of the MadMapper In, I decided to have a lot of fun with this next composition. Using channel 2, I mapped a quad to each note value from C-2 to F2, and drew MIDI that would have each quad build its way from the neck to the ears.

Process

I wanted to use Ableton's native MIDI Effects to manipulate the opacity of the quads, so in the last section of the composition, I used the velocity MIDI Effect to make sure every value was sent through at the highest value, 127 (see 1). Then, I used an arpeggiator MIDI effect with the "Random Other" style, so it would choose quads to make visible at random every 1/48th note.

1. Full Velocity MIDI Effect. 2. Randomize visible quads.

Here's how the inside of the Ableton project looks!

Interpretation

The bright color palette popping out of pitch black darkness reminds me of the original Teen Titans series. The white eyes peering through are ominous but the overall tone is playful and that is what I hoped to achieve. I like that this composition took the first one in a full 180.

Composition 3: Paper Crane - United Airlines

Concept

Working with projection mapping in a commercial setting was an initially difficult concept for me to flesh out. I looked at each of the setups we have in the room and wondered which lent itself to some form of advertising. As cliche as it was, I felt that the paper crane would be most effective if used for marketing for an airline. I chose United airline do to there monochromatic color palette.

Like my prior compositions, I wanted to integrate MIDI for the actions of the projection. Since this would likely be an installation within an airport, I decided not to take a musical route, and to create an ambience.

Process

The process is very similar to my past two compositions, except with this one, I had the opportunity to ditch the tempo grid. To create a sort of natural ambience, I took some bird chirping and wing flapping samples and built the space to match the visuals.

Here's how the inside of the Ableton project looks!

Green = Audio, soundscape. Orange = MIDI, Visual control.

Interpretation

This composition to me was analogous to Brian Eno for me, in the sense that I didn't want the composition to be invasive to the airport experience. Hopefully, this ad would become a calm detour to anyone's departure.

Composition 4: Paper Crane - "Orange Dreams"

Concept

For my final composition, I wanted to take a track that I have been working on, placeholder name: Orange Dreams, and present the same musical ideas in my head visually. This song made a perfect candidate in my head for mapping against the Paper Crane due to its overall spaciousness and slow-moving beat.

Process

The composition started with the Gradient pattern within MadMapper, and I wanted to slowly morph the RGB values to mimic a bright, sunny day. I used MIDI Channel 1 to effect the amount of Reds within the gradient, so it would slowly move back and forth between hot and cold bright colors. Then on MIDI channel 2, I took the rhythm of the main melody and had quads appear on each note. A subtle visual effect. I overlaid grain on each of the quads, and used the "Directional Blur" effect to make things less uniform and more organic.

Top = poorly mixed audio. Bottom = MIDI Channels.

Interpretation

I wanted to capture the feeling of walking outside for the first time in the morning and seeing the sun, and portray a kind of windiness that the paper crane is a part of.