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Ian Craig

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  1. Yesterday, I recorded some bird sounds out the back balcony door and cleaned out the 'other' noises on the spectrogram (in iZotope RX6 mostly using Spectral Repair), then amplified the sounds. The little bird that occupies most of it is tweeting between 7.3-10.7khz which is pretty high and higher in pitch than the birds at the start. Note how the first picture looks like shore lights from on board a ship that has it's own lights on so the shore lights are barely visible. After removing the noise and normalising the volume level of the remaining sounds so that they become audible, it looks the shore lights exist in perfect isolation





    1. Show previous comments  2 more
    2. Ian Craig

      Ian Craig

      I couldn't actually see the little bird, except for a second when it appeared from a tree 60 feet away below me next to a wall (which may have helped in getting the sounds). Things aren't very visible round here, as it's a very built up area a mile from Belfast city centre (N. Ireland, UK)

    3. CIIIGoff


      Wow, so you could record the sounds of a faraway bird in the busy city, and filter out all the city noise to bring up just the "peeps" that you display here?!   My primitive artistic palette could not possibly produce such dramatic sonic editing results.  Fortunately, I live on the frontier of a vastly undeveloped part of North America.  Lots of noisy birds and other natural wonders are just a short automobile trip away.  But even when I record those sounds, a little motorcar rumble from distant highways always seems to lurk in the background.  Keep up the good work!

    4. Ian Craig

      Ian Craig

      Thanks Charles, I will :D


    1. CIIIGoff


      I see you like mixing your sounds with sights.  Me too.  I invite you here to take a trip on one of my many transports...

      Neusicular Frejamme

    2. Ian Craig

      Ian Craig

      Brilliant yet again Charles. I feel you really have great eclectic taste, controlling things so well. (Y)

  3. 0.01Hz Baseline please, software producers

    If someone can explain to me why sound software creators are not using 0.01Hz as their baseline I would like to know why. I recall reading a book about Stockhausen in the late 1980s in which he 'pointed out' that the human ability to perceive sounds was limited to 16 seconds, which means that if a sound continues for more than 16 seconds you do not perceive it to be the same sound. I tested this out on my track 'At a Tangent' a year and a half ago and found it to be more or less accurate, so as it's pitch rise's take longer than 16 seconds it is not possible to perceive it as a single repeating sound. Anyway, my point is that using a baseline of 0.01Hz it would take 100 seconds for the wave cycle to complete which when, for example using a sine wave, each diagonal line within the curve would exceed 16 seconds, thereby making it a whole lot easier to do what I do when trying to control sounds and their effects to ranges outside not only the typical but beyond the easily perceivable (an important component in sound sculpting, film soundtracks etc.).


    1. Jack Hertz

      Jack Hertz

      Have you tried 15.9 seconds?

    2. Ian Craig

      Ian Craig

      Couldn't be arsed with that one Jack. Expansion. I'll chop one of my arms off later and see if it improves the situation

  4. (Warning - contains flashing images) Finally made a reasonable video for my 'Half Live on the Bed' thing of July 2016, based on a Mixcraft 7 performance panel test from December 2015 (which makes up the 2nd half, the 1st half is me improvising on the YRG, playing the original at different improvised pitches). I only got it done on Thursday when I stumbled across an offer for Sony Vegas Movie Suite which is the first thing I've come across that enables more than one video line to be edited at a time I was able to edit the video in a couple of hours. Unfortunately it took 5 and a half hours to render it into a file and 13 hours to upload it to Youtube :omg:. Anyway, enjoy. 1f60e.png 



    • The next revolution in Synthesis - Delayed implementation of effects (as occurs in vibrato effects) and it's extension into a manifestation of attack and release functions on every synthesis process. ... Design the virtual synths and I will test them :D


    • The next revolution in Synthesis - Delayed implementation of effects (as occurs in vibrato effects) and it's extension into a manifestation of attack and release functions on every synthesis process. ... Design the virtual synths and I will test them :D
  5. Little Video I made for a track I made on the 22/23 April 2017 using 15 instances Krakli Plugins 'K1Ks', which was a bit buggy and problematic, though that could be down to the preset bank which was made for it that I used, but it's free and experimental like all their plugins. Enjoy. 


    1. Ian Craig

      Ian Craig

      Alternatively here's the youtube link 


  6. During the last week I've had enough of unreliable software clocking and been trying to get to grips with controlling the Microkorg and Microkorg XL from the Beatstep Pro's dual monophonic sequencers with a CV output from the Beatstep Pro used to control the clock of the Keystep polyphonic sequencer controlling a single sound on the Korg Microstation. The keystep is a slightly more blind sequencing process and has no control mode for altering parameters of sound as it plays, but it is interesting and a lot less stressful than dealing with software.

    Beatstep, Keystep, etc 2a.mp3 

    Beatstep, Keystep, etc 1c2X Guitar Added#.mp3

  7. Research has been ongoing (for most of the last decade, from what I can make out) about the sounds of Stonehenge with replicas being built etc to test the acoustics and original style instruments being used for the tests. They have been finding tones (referred to by Thomas Hardy in his novel Tess of the D'Urbavilles in 1891). Anway, I've emailed Mr Till to ask about the availability of Impulse Response file recordings for use in Convolution Reverbs. 


    1. Ian Craig

      Ian Craig

      He replied : 

      I do have some impulse responses, and indeed I will eventually make them available to the public, although until I have finished carrying out research using them, I am keeping them private. If there is a specific use you want them for, please let me know what the project is, and what you background is, I am treating applications to get copies of them on a case by case basis at the moment. 


      (I replied)



      Thanks for your response. I have no specific purpose in mind for the IRs and it's good to know that you've been collecting some along the path of your research. I mostly just test software (with no specific background) and have been writing music for 35 years, but as I say, I did not have any specific use for them. I just thought people would be interested in them baring in mind the long held popular sub-cultural interest in Stonehenge and that it might clarify things for those who wish to focus on such things. I'll await any public release with interest anyway. Thanks for your time and good luck. :)

      Ian Craig

  8. Great programme from 1979 in 4 parts 


    1. Jack Hertz

      Jack Hertz

      Thanks, I love this doc. The EMS bits are amazing. I have added this to the Film Section.


    2. Ian Craig

      Ian Craig

      Yeah, that's what I thought too :) (Y)

    3. Ian Craig

      Ian Craig

      I didn't notice the film section specifically before, I'll remember next time :)