In further search for the basis of my sound design, I've decided upon basing my foundation sounds on the music notes C, D, E, F, G, A and B, as these are the musical equivalent of Maya's primitive shapes, giving me a strong starting point for my sonic design.
By assigning one of these basic musical notes (all in the same key) to each of my primitive shapes I will have essentially given each of these structures a sonic identity to manipulate in a way similar to that of the modelling. By establishing a musical foundation for each of these primitive shapes I will be able to confidently alter their aesthetic using time and pitch to suit the deformation of the model, with width of the model being time (wider - slower) and height being pitch (taller - higher), meaning that the core idea of this project is physically present in every element, giving the piece a much stronger identity.
The similarities between deformations and time/pitch are certainly
strong enough to draw a correlation from as both tools are at their core existent to alter the shape (physically or sonically) of an element and leave it in a different state then that of which it arrived upon originally.
This connection between sound a structure has given me a solid starting point to simply produce the notes of music (using a keyboard/synth) and manipulate the time and pitch in relation to the newly established rules around width and height, giving each model its own 'primitive' note as well as sonic deformation.
By assigning one of these basic musical notes (all in the same key) to each of my primitive shapes I will have essentially given each of these structures a sonic identity to manipulate in a way similar to that of the modelling. By establishing a musical foundation for each of these primitive shapes I will be able to confidently alter their aesthetic using time and pitch to suit the deformation of the model, with width of the model being time (wider - slower) and height being pitch (taller - higher), meaning that the core idea of this project is physically present in every element, giving the piece a much stronger identity.
The similarities between deformations and time/pitch are certainly
strong enough to draw a correlation from as both tools are at their core existent to alter the shape (physically or sonically) of an element and leave it in a different state then that of which it arrived upon originally.
This connection between sound a structure has given me a solid starting point to simply produce the notes of music (using a keyboard/synth) and manipulate the time and pitch in relation to the newly established rules around width and height, giving each model its own 'primitive' note as well as sonic deformation.
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