Category: computerMusic1
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(compMus1) Brief Overview of Reason and the SubTractor Analog Synth
Reason [Documentation for Reason is located on the musictechxserve, manuals volume.] Reason uses the visual or organizational metaphor of a rack filled with audio equipment (synthesizers, samplers, sequencers, reverb units, mixers, etc.). Before you begin, make sure that Reason’s Preferences are set to use the audio interface of your choice, and that the Control Surfaces…
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(compMus1) More Analog Synthesis, LFO's and Filters
LFO (Low Frequency Oscillator): an oscillator that is optimized to generate sub-audio-rate waveforms, generally from 0 Hz to ~35 Hz (slightly above audio threshold). Used for modulating parameters of other generators or processors. Filter: Any device designed for the purpose of boosting and/or cutting frequencies within specified frequency ranges. What to Know About Filters (for…
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(compMus1) Intro to Analog Synthesis
Just an outline of highlights from today’s lecture – look at the readings for more in-depth reference. Analog Synthesis and the Classical Electronic Studio General Time period: 1950s – early 80s Analog synthesis: generates/modifies electrical signals that fluctuate in an analogous (similar) manner to air pressure fluctuations. Voltage Control Modular Synthesis Categories of Equipment in…
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(compMus1) Analog Synthesis Readings:
Two reference sources that you should start reading: Jeff Haas’s Introduction to Computer Music: Vol. 1. Chapter 4 deals with Analog synthesis. Jeff Stolet’s Electronic Music Interactive. Read the following sections: Foundation of Electronic Music; The Electronic Music System; and Bringing the Pieces Together. Make sure that you understand the different waveforms that oscillators produce,…
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(compMus1) Time Compression/Expansion – Fourier Transform and Phase Vocoding
Somehow this didn’t make it to the blog after the lecture… Classic “concrete” techniques With classic tape techniques, the only way to change the duration of a recorded sound is to change the speed of the tape. (Which also changes pitch.) Same is true if all you want is a pitch change. (Duration changes) Computer…
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(compMus1) Bouncing to Disk/Finishing Your Mix in DP
The final step in completing a project with Digital Performer is to create a stereo mix that you can burn to an audio CD. Follow this process: In the Sequence Editor window, either “Edit | Select All” or drag-select across all tracks for the time area that you want to mix to stereo. (Note: to…
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(compMus1) Listening List 2
The second set of listening is available now at <my.bsu.edu>. The listening quiz will be 3/22.
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(compMus1) Project 2 Individual Meeting Times
Here’s the schedule for meeting times this week to talk about your second creative project. I only heard from 5 people about preferred times, or if anyone can meet after class. With the lack of response, I just filled in names. If anyone has a conflict, please let me know right away. Please show up…
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(compMus1) Granular Synthesis
Overview Any sound can be thought of as containing discrete particles. (Mosaic or Pointillism) A grain of sound typically lasts from 1 to 100 ms. Each grain shaped by an amplitude envelope. Sound parameters (pitch, panning, duration, envelope, location in sound file, wave type, etc) change on a grain-by-grain basis. Parameters are static within each…
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Performance at BSU Art Museum
If you have the opportunity, this Sunday Jesse Allison and I will be performing one of the exhibits in the “Engaging Technology” exhibition at the BSU Art Museum. The piece, Messa di Voce, generates real-time animation in response to vocal or other sound input. The performers can use their shadows to interact with the real-time…