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Lamb Chopped Transformations – Assignment 5

September 16, 2009

In this assignment I wanted to begin with a very identifiable and expressive sound and see exactly how the transformations affected its timbre, rhythmic nature, and tonality. At the same time, I was hoping to understand how I could change higher level emotive associations by simply doing one or two transformations. Is the effect eerie, kooky, bizarre, beautiful, bland?

I chose a goat’s “bawwwwwwwhhee”.

(There are actually two goats conversing; for sake of description I will be refering primarily to the first one [sounds older/male possibly]) The screenshot shows that the first utterance is extremely dense from a pitch standpoint with many frequencies. It is also very loud at its high frequencies (up to nearly 2000 hertz), which is interesting to work with.

Goat baw

A description of each transformation:

[Change speed]. By first doubling the speed, the goat’s whine became a higher pitched, twice as fast version of the original (sounds strange and goofy like chipmunks). Makes sense if the frequency of samples is being compounded. Conversely, by changing to half the speed, the sound then does the opposite, doubling the sample length and giving the sheep a deep, almost motor-like yelp.  The goat has an almost stuttering and guttural growlish tone at lower speed indicating that its voice has a very slow vibrato.

-Goat speeds up:

-Goat speeds down:

[Reverse]. Timbre-wise, reverse really doesn’t do quite a whole lot. The sound still maintains its general frequency and brightness. Even with the structure of the sound, the goat’s call is so non-intonational and symmetrical in attack and decay that playing the sound backwards or forwards makes little difference. I will not upload the sound for this reason

[Equalization] The goat delivers such a frequency dense wall of sound that filters make little difference for its overall tonality and composition. The low-pass filter kills the goats harmonic frequencies while the high-pass really only takes out a little bass which doesn’t amount to much in the sonic percieption of sound. A band-pass picks up the central part of the sound and pitch, but makes it sound almost lifeless without the saturation of higher harmonic frequencies or bass.

-Band-pass filter:

[Sliding Time Scale] By changing the time scale of the piece, the sounds become gradually slower – though they don’t result in any significant timbrel difference. When slowing way down, however, the voice does begin to get a bit granulated and computerized.  The effect is worth taking a look at and is interesting when pitch is changed simultaneously though I don’t know procedurely what that would be doing to the sound.


-Slowdown w/ simultaneous PitchShift:


You can find the remixed goat sounds here in a Freesound pack: Lamb Chops

You’ve officially been (lamb)chopped and screwed – Tpain

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