DIY SASS-Lite

Building a SASS (Stereo Ambient Sampling System) using Primo EM172 capsules

Up to now we used a Rode NT4 microphone in a Rycote blimp for stereo field recordings. Since we still had some Primo EM172 microphone capsules lying around we had the idea to build a SASS system.

We found an excellent describtion of how to build it on Vicki Powys’ website  caperteebirder.com

We took the measurements and the concept of wiring two EM172 capsules in parallel from her post here: Vicki Powys’ SASS-Lite Narrow

To operate the SASS via XLR cables with 48V phantom power on our Sound Devices 702 we found a manual on the website of Tom Benedict.

Although our implementation of the construction is somewhat unclean due to lack of time and material we are very satisfied with the result. The SASS provides a good stereo image, the mics are very sensive and low noise.

Here are some images of the building process and 2 recordings using the SASS and a SD702 recorder. More investigations will follow.

3d printed plate for each pair of the EM172 capsules:

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XLR connectors each with a capacitor and resistor like in Tom Benedict’s post:

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view from the back:

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the plate glued to closed cell foam:

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closed cell foam and open cell foam connected and hold together by a metal plate:

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purple colored dead cat – the only thing we could get:

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Micro 7

Micro7

We contributed a track to the project ‘Each Morning of the World #03 – Central American PhoNographic Mornings #02/1’ by Stephane Marin / www.espaces-sonores.com

„Micro 7“ is the portrait of a morning ritual happening in Santiago de Cuba, in the suburb Micro 7. A seven years old boy, Cesar, receives the symbols of three Orishas, the guerreros, to give him protection and to help him in life.
The ritual happens in the house of his father, the Santero Abelardo Lardué, who is accompanied by a second Santero, taking the part of the Padrino. This is the first initiating ritual starting a long process of further rituals for a person being part of the Santeria community.
During the several phases of the activity the boy will be washed, Chickens and doves will be sacrificed and at the end Cesar gets three necklaces in the colours of the Orishas.

We recorded the material during a long stay in Santiago, when we collaborated with anthropologist Dr. Jose Millet and Abelardo Lardué, developing a number of installations and performances, documenting and portaiing the Santeria community of Santiago de Cuba.

Listen to “Micro 7” on Bandcamp!

A.O.S.C. Live Audio Broadcast

Listen to the live generated ambient music of the A.O.S.C. network in a 24/7 Live Audio Broadcast!

http://blackhole-factory.homedns.org:8000/listen.m3u
September 22 6pm UTC until September 28 6pm UTC

A.O.S.C. – Agents of Synchronicity is an autonomous system of remote networked machine agents transforming the environmental soundscapes at distant places into a collective realtime composition of abstract electronic music.

A.O.S.C. draws on Anthropocenic notions of the autonomous nature of dispersed environmental events, and their repercussions on the world in which we live.

blackhole-factory sent out 5 microphone agents to international places where they are placed outside their hosts houses to listen to the current soundscape. Each agent streams data of the analysis of the sound spectrum over the internet to a computer in the blackhole-factory studio. An algorithm interpretes these data and calculates parameters to control custom-built audio synthesis software. These parameters are streamed back to the agents where the collective music is generated and can be heard.

actual networked places:

agent02: Lviv, Ukraine – hosted by Ostap Manulyak and Mykhaylo Barabash
agent03: Toronto, Canada – hosted by Rob Cruickshank
agent04: Londrina, Brazil – hosted by Chris Vine
agent05: Sydney, Australia -hosted by Roger Mills
agent06: Bonaforth, Germany – hosted by blackhole-factory

The agents are designed to survive outside in bad weather conditions. They consist of a RaspberryPI single-board computer in a waterproofed box and a custom built microphone.

Club Instabil 9.17

ClubInstabil 9.17

blackhole-factory trifft Chris Vine (Brasilien)
Chris Vine: git + laptop
Elke Utermöhlen: voice + live processing
Martin Slawig: percussion + live processing
30.9.2017 20 Uhr
Eintritt: 5 – 10 €
Kunstmühle Studio_A
Hannoversche Strasse 69
38116 Braunschweig

Chris Vine begann als Jugendlicher improvisierte Musik in der britischen freien Improvisationsszene zu spielen und entwickelte seinen Sound in den Downtown-Musikszenen von New York und Washington D.C. in den frühen 1980er Jahren. Er arbeitete unter anderem mit Elliott Sharp, Bobby Previte und NPRs Bob Boilen. Zusammen mit dem Open-Field-Poet Chris Torrance bildete er die Heat Poems in Wales im Jahr 1985. Vine war Gitarrist in Ted Milton Kult-Gruppe Blurt in den 1990er Jahren und arbeitete als Komponist und Sound-Designer für walisische Tanz- und Theaterformationen wie Earthfall, Teatr Genedlaethol Cymru und das Center for Performance Research. Seit 2000 arbeitet er in Brasilien mit Tanz-, Theater- und Filmkompanien wie Verve Cia de Dança und Union Filmes. Er bildet das Ambient Improvisation Duett Barsa and Briggy mit dem brasilianischen Schlagzeuger Wesley Ribeiro seit 2010.

Chris Vine began playing improvised music in his teens on the UK free improvisation arena and developed his sound in the downtown music scenes of New York and Washington D.C. in the early 1980’s, working with Elliott Sharp, Bobby Previte and NPR’s Bob Boilen, amongst others.  He formed the Heat Poets in partnership with the open field poet Chris Torrance in Wales in 1985.  Vine was guitarist with Ted Milton’s cult group Blurt throughout the 1990’s and worked as composer and sound designer for Welsh dance and theatre companies such as Earthfall, Teatr Genedlaethol Cymru and the Centre for Performance Research. He has been based in Brazil since 2000 working with dance, theatre and film companies including Verve Cia de Dança and Union Filmes. He formed the Ambient Improvisation duet Barsy and Briggy with Brazilian percussionist Wesley Ribeiro in 2010.[/vc_column_text][/vc_column][/vc_row]

The Agents Play Their Music

DisplayAOSCWeb

Bringing the A.O.S.C. project to the next level – the agents play their music!

In the previous setup the agents functioned only as the ears of the system, listening to the acoustic environment and sending the data of the audio spectrum to the main server. Everything else, the analysis of the data streams, the resulting calculation of the parameters for the sound synthesis as well as playing back the music, all that happened on the server side.

Now we bring the music back to the agents!

The server only does the calculations and sends the stream of parameters back to the agents where the music is generated by a Pd patch.
That means, you can sit beside the agent, listen to your actual acoustic environment and – by using headphones – to the collective electronic soundscape composed by all the networked agents.
Now this system offers the possibility to directly observe the impact of the acoustic events at the agent’s place as well as direct acustic interaction with the system.

In the moment we have four agents running: Toronto, Lviv, Sydney and Bonaforth.

Currently we are working on the algorithm which is receiveing the data stream and calculates the control data for the music.

Here are some snippets.

aosc170731 is a YouTube video with syncronized visualisation of the data streams.

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