TE: Actually most of the things I put in SoundHack, I put there because I knew that noone commercially would touch these processes. PK: Yes, simple, though musically very effective, so isn't it odd, in a way, that no one else has tried something that simple? TE: When you say "no one has implemented it quite like you", I have to admit, the implementation in SoundHack is about as simple of an implementation as possible!!! PK: Yes, and it seems that hearing both at the same time (rather than as separate components) is part of what makes that effect so interesting. You not only get transformation of the frequency components, but also a cross-synthesis of the envelope/articulation of the sounds as well. That gives a phase shift that is as long as the impulse window. SoundHack does a convolution on the entire "impulse" file, with no dividing into smaller chunks. What is it about your approach, do you think, that is unique? (I guess it's the combination of large FFT frame sizes and the time-stretching side effect of adding up sample lengths?) It seems no one else has implemented it quite like you, largely because of the non-realtime component. It has this strange feeling of alchemy to it, still, after years of SoundHack convolution! SoundHack's process has such a unique sound to it, too. It is so unexpected how two sounds will resonate through each other. Using it as a sampling reverb is a great direction, but I think that it is as a cross-synthesis tool that convolution really shines. It's not so easy to pull off in real time, though some people are getting closer. TE: Convolution is one technique that keeps SH alive. For me, at least, I know part of why SoundHack stays in my Dock is that I still find, with convolution especially, sounds that surprise me. PK: Yes, absolutely! And maybe as people get more used to these techniques, too, even in SoundHack, that will continue to drive people to try for the unexpected.
That's good news, people are going far beyond the easy and obvious. Now musicians are more familar with spectral techniques, so it's not so easy to identify SoundHack in the mix anymore.
There were some convolved sounds of underwater screaming. I did like it when I saw the IMAX film on the Titanic. TE: Surprising sounds are one of my favorite things. PK: Have there been any sounds or music that came out of work with SoundHack that surprised you? Have you been surprised at all by the response, or how it's been used? I'm always impressed by the number of people using this one little application, and in such a variety of ways, even today. I wanted to take some computer music techniques that were only used in academia, and get them out there so that all types of musicians could use them. I did have something of a mission with SoundHack. SoundHack was my main thing for a long time, and I poured a lot of effort into it.
#Soundhack spectral morphing mac
Do you mind being known as "the guy who developed SoundHack"? I think you're something of a celebrity for having been behind this landmark piece of Mac software. PK: Let's start by talking about past work, since I think that's how many people know you best (for now, anyway, until they see the new plugins).
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