MySoundBlog

[Freed]

Hello friends,

 

Let the Sounds talk in this blog!

Let's get an incredible history of Sound Trips!

 

How does it work?

 

1. Whenever you have something mixed with Freesounds, publish it here as a Reply to this post.
   You can do it also in stages by editing your Reply. Every Reply to this post should be bound to one piece.
2. Listen to the pieces of others and reply with music! Add this as a Reply to the Reply you are listening to.
   You can modify a piece of others or a part of it. You can also take a part and start something new. And you can also reply to a Reply of another Reply... 

 

That's it.

 

Technical details will follow where needed.

 

Enjoy!

 

Freed

 

 

[Freed]

(13) STORK'S PROMISE

 

I started to plan PATHWAYS long ago and it took me a very long time to figure out how to get along with the heterogenous and yet exciting Freesound material. "Stork's Promise" was the piece I was experimenting most with. Finally I'm able to present it and this makes me very excited. Far away from being perfect, I think it transports today a real musical flow, which still can be optimized through playing it smart. Give it a try and check it out yourself with the original Freesound Palette.

 

Why it is called "Stork's Promise"? The knocking sounds in the beginning and the end of the piece are made by the sound of a Stork knocking with his bill. And "Promise"? Your turn!

 

6 Freesounders contributed 12 sounds to this piece. It features also special sounds from my older theater project PASSAGE (see http://www.cm-gallery.com/gex01r02.htm#pas).

 

[Freed]

(14) CLUSTER HOMAGE

 

"Cluster Homage" includes a frightening choir sound and a counter-point (contrast) to it: a laughing girl. The whole piece goes on with these kinds of dualities, dancing, stopping, laughing, being afraid, and moving ahead, all the time.

 

The piece, rich on sounds and trying to implement tekkno moves in a new way, is made of 23 sounds created by 13 Freesounders.

 

It is fairly easy to play, here is the link to the Freesound Palette.

 

[Freed]

(15) ELECTRIC BIRDS

 

"Electric Birds" belongs to the pieces that took me literally years until I reached its final form. Actually, the work on this piece led me to the new Freesound Palettes in Spring 2010. Till then, I created Freesound Music with my Freesound Navigator, which was not only challenging performance wise, but also in terms of a good musical control as a musician (somehow too many options at a time):

 

Navigator sample 1:

 

 

 

However, the Navigator is actually the tool that allowed me to create all the Freesound mixes for the palettes. So when you open the above link of the Navigator, you will see all the single Freesounds that have been used to make the "Electric Birds" sound palettes. Moreover, you can use it to mix something similar with the same material. Along with my attempt to use the Navigator for playing the whole piece in real-time, you can find there now even control buttons that allow you to shift smoothly from one sound scape to another (those continuations recommended are highlighted). Check it out - it is a real sound labyrinth.

 

Navigator sample 2:

 

 

 

As this works fairly well, a lot of good musical moves are now already contained in the palettes themselves as an outcome of this "labyrinth" like play. That is the reason, that in the following real-time play you will find long periods, where I do nothing beside just re-playing complete parts, previously controlled by the Navigator. If you listen without watching, you will never now for sure (ok, yes, sometimes a palette move is obvious...), when a musical move came from the Navigator or from the palette. This is, by the way, true for all palettes, but here you find it in its extreme.

 

And yet, you still may create a totally different experience from this Freesound Palette.

 

You will also find - as with the former piece "Thing Love Call" (#9) - that the piece is not limited to 4 sound windows, but switches pages while you are following the touchpoints. This allows you to seemlessly browse through the whole experience. In an online environment this may be, however, a bit challenging. So if you want to check how this works, let's connect and I will be glad to find out with you how it can work best in your environment.

 

In the following video you will see a difference in the touchpoint display: Instead of touchpoints skipping straight along the sound trip to indicate the path, straight touchpoints symbolizing here rather longer sounds that should not easily be interrupted ("Strokes") while the skipped touchpoints are set in areas of sound events where it is easy to break out and in again ("Strikes"). This display is also very useful when you create your own sound path.

 

Both modes, the Strike&Stroke mode and the path mode can be easily switched. If you use the Strike&Stroke mode, the path can still be played (including page switches) by clicking the Colorstrip at the bottom, one button after the other. Pay also attention to the indication of time while hovering with the mouse over the buttons. The time indicates how long you should wait until the next click or touch.

 

 

And here is a version with the touchpoint path you are already familiar with:

 

 

 

60 sounds of 30 Freesounders can be found in this piece. You may also use the Navigator mentioned above to enter these sounds separately.

[Freed]

(16) SCREAM CONVOLUTION CHAOS

 

Hi, do you want a taste of the next piece? Here we go:

 

Hi!

Do you want to join my latest Sound Trip?

It's easy! Just open the Sound Page 'Freesound Palette (Sound Jungle 2 by Freed)' at

http://www.cm-gallery.com/FleX/freesound/FPL/Freesound%20Palette%20...

and highlight the following Sound Trip:

(mute)T4:S94065:T1:S94062:T2:S94063:T3:S94064:$$$0:84T4S94065right;0:21T4S9406504;2399:66*11§T1S94062;26885:48*13§T2S94063;2100:LinkT2480;24759:51*259§T3S94064;2042:LinkT3480;14232:85*157§T2S94063;5058:140*23§T4S94065;7493:88*345§T2S94063;11677:62*66§T3S94064;21707:54*144§T1S94062;6908:T1S940625;10266:53*102§T2S94063;1120:T2S940635;14195:89*259§T1S94062;1594:T1S940625;24337:GroupPlayStop;

After the Sound Page is loaded, copy the Sound Trip into the clipboard and click 'Enter' (the '\/' button) at the recorder menu to play it.

Enjoy!

 

Now, if this is a bit complicated, look the below video to see how easy it is to play it (just be patiened with the load of the page!!):

 

 

Although this sequence is quite fixed (actually my first play of the piece code, the Colorstrip), it plays everytime a little bit different since the sound windows are behaving a bit of independent within the browser environment. To my taste, this makes it even more interesting!

 

However, for a "real" interpretation of the piece with the freedom of combining the sound streams more interactively, we continue to touch our touchpoints like here:

 

 

 

"Scream Convolution Chaos" is the creation of 5 Freesounders that contributed 10 sounds.

[Freed]

(17) ELECTRIC CHICKEN

 

Reaching almost the end of the PATHWAYS cycle, I decided first to concentrate on the last piece "Blood-curdling Scream" (we had already some screams, hadn't we?), since it comprises of 7 sound windows, and demands some kind of summary, some deeper thought, finishing all these 18 pieces.

 

What if you go ahead in the meantime and suggest some sound path for "Electric Chicken", the next piece in the row? That's funny material where a glitch chicken fights against a real one :-) If you just think that the glitch chicken is made out of a sound sample of not more than 3 seconds, aren't you amazed how much can be won out of it just by playing this genious sample in a juggling way? (I am!)

 

If I'm not wrong, 6 Freesounders contributed 10 sounds to this palette, more information can be found here.

 

------------------ 

 

With the following video you will be surprised to find another application playing the piece. It is the "Freesound Navigator". 

This movie shows you how to load the "Freesound Navigator" from the Web (as with the palettes: Shockwave movies, recommended use of IE) and to play the little Freesound composition by yourself. Just follow the letters and translate - to short, -- to middle, and --- to longer time periods.

You can also play free with the sound boxes, here are some explanations: http://www.cm-gallery.com/FleX/Docu/WebSongs/WS_Help.htm.

For credits you can click the [i] button of each sound, and the sound "home page" will open and tell you a lot more about the sound and its author.

 

 

 

And this is my recommended "Freesound Palette" version:

 

 

 

When you compare both versions, you will find that you have much more control about single sounds in the "Navigator", but it is much more difficult to control the complete structure from one stage to another. You maybe also a bit confused about the random functions of the sounds (red buttons) that move them in an automated fashion to help the whole structure keeping alive. At the right larger window you can switch sound windows on and of.

 

Find out by yourself, which version you like more to play around. When I will have some more time, I probably will create some hands-on movie to educate better about the tools, so long, just feel free to contact me directly for any questions, just send me a message...

 

PS: If you think it was easy to make the palette version, you may want to listen to be below. A first trial which I played many times and finally discarded. Sounds still interesting?

 

 

 

Great! Then go ahead an copy the Colorstrip of this version into the Palette:

 

77,35;71!82+T1$S94074*311§55:77,67;71!83+T3$S94076*266§68:35,32;81!84+T1$S94074*177§47:194,30;59!85+T3$S94076*77§59:77,21;64!86+T1$S94074*347§52:77,17;65!87+T3$S94076*354§47:77,25;71!88+T1$S94074*312§53:77,37;71!89+T2$S94075*16§70:77,54;80!90+T1$S94074*16§56:77,50;71!91+T3$S94076*268§65:35,31;80!92+T2$S94075*139§44:35,36;81!93+T1$S94074*178§44:35,59;78!94+T2$S94075*159§40:194,28;77!95+T3$S94076*26§53:77,27;57!96+T1$S94074*304§36:77,16;70!97+T1$S94074*335§82:77,31;71!98+T1$S94074*313§53:194,29;59!99+T3$S94076*77§58:77,39;63!100+T1$S94074*351§68:77,19;71!101+T1$S94074*313§49:77,28;65!102+T3$S94076*357§48:77,29;62!103+T1$S94074*355§88:77,123;70!104+T2$S94075*63§69:77,99;80!105+T1$S94074*15§59:60,35;71!106+T4$S94077*289§47:35,15;75!107+T4$S94077*259§43:60,24;71!108+T4$S94077*294§44:35,18;75!109+T4$S94077*260§45:60,21;72!110+T4$S94077*225§43:35,35;76!111+T4$S94077*189§43:60,24;73!112+T4$S94077*162§46:35,27;77!113+T4$S94077*134§40:60,28;80!114+T4$S94077*86§42:60,23;69!115+T4$S94077*63§75:60,22;70!116+T4$S94077*42§57:60,26;79!117+T4$S94077*30§106:60,33;57!118+T4$S94077*54§139:60,41;56!119+T4$S94077*33§194:35,25;59!120+T4$S94077*328§190:60,28;56!121+T4$S94077*35§193:35,17;59!122+T4$S94077*331§191:60,59;56!123+T4$S94077*34§193:

 

How? Highlight code - Ctrl+C to copy into the clipboard - Hold Shift and click the first Colorstip square of the Colorstrip.

[Freed]

(18) BLOOD-CURDLING SCREAM

 

Today, let's start with the FINALE of the PATHWAYS project. The following video is the FIRST output I ever played of this piece, and you can feel that I'm still struggeling finding the next touchpoints to follow. Moreover, the paging mechanism let me halt in the middle of the piece and therefore not reaching the blood-curdling scream at the very end of the piece, which will not only conclude the whole piece but the whole cycle. (Why this sound, I will explain a bit later.)

 

 

For now, you are invited to open the Freesound Palette with the ready sound path, play with it, or load the first trip I did as mentioned above:

 

Open the Sound Page 'Freesound Palette (Freeway 3 by Freed)' at

http://www.cm-gallery.com/FleX/freesound/FPL/Freesound%20Palette%20...

and highlight the following Sound Trip:

(mute)T1:S94094:T3:S94096:T4:S94100:T2:S94095:$$$0:84*144§T1S94094right;0:50*144§T1S94094;2074:LinkT1480;9461:64*328§T1S94094;5245:40*194§T1S94094;1530:LinkT4480;1709:44*293§T1S94094;1191:LinkT3480;195:LinkT2480;4116:63*350§T1S94094;4277:47*254§T3S94096;5765:33*187§T3S94096;7392:49*13§T3S94096;5077:60*124§T3S94096;6712:72*30§T3S94096;4538:74*156§T3S94096;5284:49*157§T4S94100;4908:51*201§T3S94096;4465:44*157§T4S94100;6864:55*218§T4S94100;2988:46*269§T4S94100;4209:51*252§T3S94096;3460:43*162§T4S94100;4341:34*186§T3S94096;9126:57*273§T2S94095;8449:60*41§T1S94094;5467:54*35§T2S94095;1213:54*36§T2S94095;4355:78*56§T1S94094;3234:48*247§T2S94095;4600:45*182§T4S94100;3287:55*240§T1S94094;4972:74*199§T4S94100;3950:51*180§T1S94094;4124:46*293§T1S94094;3875:46*291§T1S94094;3126:70*353§T1S94094;4665:54*219§T4S94100;7343:50*266§T4S94100;4967:47*257§T3S94096;4763:46*161§T4S94100;3053:31*188§T3S94096;4878:57*222§T4S94100;5866:48*267§T4S94100;4366:55*271§T2S94095;4467:64*42§T1S94094;115:LinkT3310s$muteS94099e$;7670:29*283§T1S94094;458:LinkT3480;3000:65*164§T1S94094;3007:65*330§T1S94094;4911:51*183§T4S94100;3987:59*223§T1S94094;5228:46*181§T4S94100;4678:60*244§T1S94094;131:LinkT4310s$muteS94097e$;6302:65*328§T1S94094;1182:LinkT4480;21819:GroupPlayStop;

After the Sound Page is loaded, copy the Sound Trip into the clipboard and click 'Enter' (the '\/' button) at the recorder menu to play it.

 

In the meantime I will go ahead to play an authentic version, which I will place here below. Then you may have a look and compare especially the parts from the beginning in terms of progression - will we feel a bit more drive between the sound parts, a bit more precision, or just another interpretation of the sound trip??

 

Before I forget: This piece comprises the most sounds of all PATHWAY pieces, 109! - made by 29 Freesounders.

 

---

 

4 hours later:

 

Now, that I'm through the interpretation of this piece, far away from a definite version, but having made a lot of interesting playing experience, I won't spare you this time any version I did of it, even so, some little accidents occured during play. I'm sure you won't easily find the time to hear through all the other 6 videos that I did after the above, but even so you will just compare the beginnings - I found it very interesting how the general character remains while a lot of details in the sequence of the events can vary. And it varies a lot as you get almost a minute and a half of difference for the whole piece!

 

However, if you are not patient enough to go through this, just jump to the end and listen to the last version, I still think it is the best, although...

 

2nd trial:

 

 

 

3rd trial:

 

 

 

4th trial:

 

 

 

5th trial:

 

 

6th trial:

 

 

FINAL trial:

 

 

Last but not least I want to keep my promise: Why do I think the Blood-curdling Scream sound from Fressounder ERH ("A loud synthesized scary blood-curdling scream. Part of my screams pack.") in the end is so special, or has such a special meaning to the whole PATHWAY project??

 

Well, I found it very interesting to combine soft and harsh sound elements, known and strange things, and you can find these combinations throughout the whole cycle of the 18 pieces. With the Scream sound, however, it looks like, you have it just melted within one single sound: Taken from a human voice, heavily processed, you find harmonics and rough overtones, natural and electronics, all in one single sound.

[Freed]

HYPERSOUND ARRANGEMENTS +++ Starting today!! +++

 

Hi all,

 

Today I start another series of pieces, again 18, but this time completely different:

 

1. I'm not using Freesounds but let whole compositions talk with each other. I'm calling this Hypersound connections.
2. The pieces have not been planned, they are an outcome of three Hypersound Workshops, partly even using the pieces of the participants of the workshop.
3. The sounds are either much more experimental or much more welknown, representing experimental electronic music or even just pop songs.
4. The pieces are protected by copyright, so every Hypersound result should be used only for educational purposes unless an author gives it free for free sound meetings as we all know from our Freesound community ;-)
   
   But more importantly:
   
   
5. You are invited to join this catalogue of Hypersound Palettes and let your own music talk to the pieces of others. Just think about it, and if you like the idea, let me know what you would like to put into a Palette. And then, let's just do it. (Could be even an idea for a new "HYPERSOUND" community, couldn't it?)

 

The first block is an assembly of older and newer electronic compositions, which have been combined in the "Hypersound Workshop - ICEM Edition" project. Today I'm starting with the first Palette, called "Old School 1", including famous pieces from the oldest pioneers of electronic music, Pierre Schaeffer and Karlheinz Stockhausen.

 

The second block is a composer's portrait, where I try to feature the fantastic sound scapes of Igal Myrtenbaum. The project is called "RedPoint Sound Tours - Featuring Igal".

 

The third block "Rainbow" shows a truly multicultural mengeling of pieces, performed in a workshop in the north of Israel as guest of a very nice Arabic family.

 

Stay tuned!

[Freed]

(1) OLD SCHOOL 1 - "Aufbruch" (Departure)

 

One of the most famous inventors of the loop in electronic music is Pierre Schaeffer. His way of variating and combining loops has been a big inspiration for me and led me to further apply this method onto his own pieces as you will shortly be able to hear in the below study.

 

While Schaeffer has been also introduced the concept of using samples, i.e. concrete sounds, for musical material, thus representing one fundamental pole of electroacustic music, Karlheinz Stockhausen has choosen the other way around and synthesized his not less complex structures starting from the most simple acoustic element, the sine wave.

 

Why should one mix those completely diametral opposed conceptions together? Well, I found it thrilling to fight the Schaeffer style into a more broken, irregularly one, while extracting from the Stockhausen study similarities and redundancies to make the richness of his morphologic creations better recognizable, that otherwise just fly away from one to another (I know THAT was the idea, BUT...).

 

Go ahead, and check these and other related pieces of this first Hypersound Palette out. Post your findings here, or simply wait for my suggestion, and THEN comment!

 

-----------------------

 

4 days later:

 

Although, it is true that Schaeffer's loops went into some kind of distortion (not always) and Stockhausen's figures became often heavily looped - going on with the composition of both pieces, both sound spheres kept their basic function: Schaeffer's loco-motives moving on and on and providing the rhythmical ground for the piece while Stockhausen's expressive sine clusters create a kind of strange melody or speach (or both) on top of it (learn about "Figures" and "Xpressions" in http://www.cm-gallery.com/FleX/Docu/FleX/B_Basics.htm).

 

These basic pieces bring quite some dust with them and it needs some fantasy and imagination to think how they would sound in a perfect sound world. On the other hand, I can still feel the excitement of trying something completely new that is today more than common - can you imagine how Schaeffer was combining all those samples by physically glueing tape pieces, or Stockhausen producing every sine separately?!!.

 

The starting locomotive in the end part of the piece is saying at all: A new train is underway, yes including accelerating elements that have been rather unused in former times... I believe, this acoustical departure symbol will become ones the kernel of a future rhythmical understanding, much more than what all the static loops of this "modern" piece are suggesting...

 

 

What do YOU think?

 

[Freed]

(2) OLD SCHOOL 2 - "Mutationen auf dem Silbermond" (Silver Moon Mutations)

 

Each of the pieces of this Hypersound cycle tells something about electronic music. In the first piece (Departure) we learned a bit about the very basics of electronic sound - on one pole sampling the reality and transform it to something new, and on the other pole the construction starting from the very sound atom to something more alive.

 

Assume that we have already some great sound molecules or even some more complex fabrics, a creator is always very much linked to his laboratory and the discoveries that are possible there. What happens when we jump from piece to piece in a Hypersound Palette is that we literally jump from one lab to the other, but still, we can relate each material to another one.

 

When cutting in and out - mutations are going to happen. The piece starts with a glissando side effect (window 3) and blends into a real upward glissando (window 4), followed by a tone which is sliding as well but around himself. This way, one idea mutates to another one and so forth. Try to see where else those things are happening throughout the piece:

 

 

(Did you notice that the piece title is a mutation of some underlying piece titles itself?)

 

And here is your turn:

 

Hypersound Palette "Silver Moon Mutations"

 

 - maybe you find even better mutation relationships?

 

One more thing...

 

When creating the sound trip, I was wondering if it wouldn't be a bit too long. So I created a rush version - same sounds, 2 minutes less!!

 

 

If you listen to this, you may be amazed (as I was): The different parts sound longer! Because they are more flat, I believe. Much less interesting. The overall listen experience compared to the above piece? Sounds like the same duration! So what is time?? It is so important to take time. To feel. Then time passes by in another way. We should always be careful not to bore our listeners. But on the other hand - we need to create something meaningful, and yes, this may take time! The "right" one.

[Freed]

(3) NEW SCHOOL 1 - "FürWahrGenommen" (Perception's doors)

 

What if we listen first this time, and then I will explain?

 

 

After some string and nature sounds, a dramatic male voice states: "If the doors of perception would be cleansed, everything would appear to man AS IS, infinite!"

 

This brings us to an interesting THIRD point of electronic music: The same sound is not the same sound. (or: "You never enter the same river again.") It appears to me different than to you, because we have a different story with it and similar sounds. It even appears to you different at different times, as the sound may meet you under different conditions of attention. Or even more, the sound itself comes within different environments, appearing different as a loop, or together with another sound, etc.

 

• Is there anything existent AS IS?
• Is there anything without the eye of interpretation, of recognition?
• What is appearence without a receiver?
• Is there any universal receiver (what I doubt)?
• Is the first string sound a string sound or a simulation, an outcome of an algorithm?
• Was this algorithm intentionally built to simulate a string sound, something else, or something at all?
• Does this matter and to whom?
• What about the nature sounds? Are these birds taken from pure nature or do we hear also pure electronic sounds?
• Again, does this matter, and if yes, why?
• How do we listen to nature sounds when a silken minor chord is underlying like in a documentary movie?
• How would we listen to it when we see in fact a movie about nature?
• How much do we really listen and how much can we learn?
• How much do we want to learn?
• Does the first and last tone of the string sound the same like the minor chord and ones the chord is over it sounds different?
• What questions do YOU have?
• Do you want to play with this sound palette?

 

Here it is: Perception's doors

 

By the way, my first experience with this Hypersound Palette dates back in May 2010 when I introduced it within my Hypersound Workshop in Essen (Germany). Later the year - in December, I further experimented with this palette, still looking for a better way to capture my sound trips:

 

 

More examples.

[Freed]

(4) NEW SCHOOL 2 - "Klang(t)räume" (Lectro)

 

Did you take the time to compare the older improvisations of "Perception's doors" from December 2010 with the latest palette plays I published yesterday? Quite a progress, I believe.

 

However, I did another improvisation with the NEW SCHOOL 2 Hypersound Palette, and listened to it last night again in order to prepare today's session. This time, I was quite satisfied. Improvisation has something to do with dreaming and with the German title of this piece "Klangträume" which means "sound dreams". Maybe this time, I was dreaming quite ok? You will say (this is the improvisation piece from December 2010):

 

 

So what is the story here? Let's do a genetic mutation of our German title an make from "Klangträume" the word "Klangräume" by taking the "t" away. What does it mean?

 

"Sound Spaces"

 

That's what I want to share with you as the FOURTH principle in creating electronic music. Sounds are not isolated and often appear in an environment of similar sound events or those that know to complement them in a good way. A sound space is a very often term. Millions of sound spaces can be thought of, little, huge, whatever you like. So what makes a sound space a sound space at all? I think, a number of characteristics that remains relatively stable over the time:

 

In the first sound window, you find a very harmonic scene with bass, voices and a high flute sound, variated over time by electronic means, all that with a strong touch of ethnical music. A very stable sound space I would say and yet, because of the mixing structure quite dream-like.

 

 Jesse Frank Matthews - needle.point (2009)

 

The second window is a fantastic dream with endless variations of the spoken word L'électro, across all kinds of people, young and old, putting the sounds in a sharp spotlight as it used to happened sometimes in dreams (think about Salvador Dalí). And as it happens in dreams, elements are subconciously forgotten, so we end up with the English title "Lectro" for this piece - a piece of dream memory.

 

Francis Dhomont - L'électro

 

The third window brought us in deeper sleep areas, a music which takes us almost completely away from our normal brain functions. It sounds like, the music is dreaming itself...

 

Olaf Hochherz - Hoffnungsträger (2009)

 

And finally, back to a kind of "day dreaming": In the forth window, we experience ourselves in our daily life at home, hearing house noises, but while busy with our routines, those noises turn into dreams as well and letting us forget for some time where we are and maybe even - what we are..., just being inside those sound trips, and dreaming - with the sounds, beyond those sounds:

 

Florian Hartlieb - Im vorderen Zimmer des hinteren Raums (2009)

 

You may wonder what the German title means? "In the front room of the rear compartment". This idea is a dream in itself: Rooms within Rooms, Sound Spaces within Sound Spaces. And that is exactly what happens if we combine this four dreams into a new one - but stop: Did you listened first to the single dream pieces or sound spaces? They are so rich in themselves, you shouldn't miss it. And maybe you start dreaming yourself, when listening to the following dream or dreaming along the Hypersound Palette on your own?

 

 

This is how it looks when you play a sequence and it creates the touchp(o)ints at the same time!

 

Now that you listened to this version you will find that it is quite similar to the above improvisation although the touchp(o)ints are really different. So what is the deal here? We can now "operate" the dream! Each event is now a definite part of a Colorstip of touchp(o)ints and so we can work on it, and make it better and better. Go ahead and become a "dream operator"!

 

How did I transform the former play? Well, I took a second computer and let the movie play with the Hypersound Palette, trying on the first to follow the moves. This is something you can try yourself. In my latest Soundcast action, I used this method as well, as there where no leading touchp(o)ints on the target computer available:

 

[movie to follow with the "Happy Birdway" Soundcast]

 

By the way, you can now also follow me through Twitter, if you like to get timely updates on new releases or events: http://twitter.com/#!/squarefree.

[Freed]

Here is a dream of a friend of mine: