Month: February 2009
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(compMus1) New Reservation Form for Studio 9
Jeff has created a new reservation system for studio 9 (the computer lab – our class room). You CAN reserve individual workstations now, which should help you in completing the first project. Remember, if you reserve workstation or studio time, you are expected to use it. People who continually reserve but do not use their…
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(compMus1) Quiz 1 Review
The first quiz is on 2/5. It should take about 25 minutes, so we will have class following the quiz. From Listening List 1, know title of work, composer’s last name, and year composed. From the Chapter 5 reading, be able to list 3 of the 7 fundamental traits of electronic music, and provide a…
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(compMus1) Essential Concrete Music Techniques
The book outlines five classic techniques for composing concrete music. Four techniques are derived from tape manipulation, and one is an external process. Tape Techniques Tape Splicing: allows for the re-ordering of sounds in time. Tape Echo/Delay: self-explanatory Change of Playback Speed: changes pitch and duration. Reversing of Tape Direction: also changes amplitude envelope. Process…
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(compMus1) Digital Performer Audio Problems
Erica in section 2 ran into a problem over the weekend that completely shuts off digital audio in DP. The fix is easy, but you have to know where to look. If all of your soundbites have red X’s through their wavey handles (~ or double ~’s), then your audio system in DP has been…
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(compMus1) Digital Audio Properties
Digital audio quality is determined by two properties: sampling rate and bit resolution. The sampling rate determines how often amplitude has been measured per second (per channel). The sampling rate determines the highest frequency that can be represented accurately. To get an accurate measurement for a particular frequency, you must measure amplitude at least twice…