(compMus1) Creative Project 3 – Final Project

I handed this out in class on Thursday. For those of you who took the day off, here’s a copy…

Overview (due 5/4, by midnight)

Create a work of computer music, displaying your skills and creativity in audio processing, synthesis, and mixing. You may make use of all the sound creation and processing techniques you’ve learned over the semester, BUT YOU MUST MAKE SIGNIFICANT USE OF ANALOG SYNTHESIS TECHNIQUES (Reason: SubTractor Synth). Use of one of the Reason samplers is up to you. The work should be between 2 and 3 minutes.

Your focus should still be on creative manipulation of audio. For this project, you should concentrate on the manipulation synthesis parameters through MIDI continuous controllers (LFO modulation, amplitude, pitch, filter settings, FM/RM control), and the use of mixing controls in Digital Performer. You will be graded on creative use of MIDI CC and DP automation.

You may create a completely original work, or you may use any material from a previous project (including music concrete in DP). You can take sound files and use them as samples in Reason (using one of the two samplers), which you can then control with MIDI.

All SubTractor and Sampler patches, along with Reason Song Racks used, must be turned in along with your DP session.

Requirements:

• Length must be at least two minutes. As always, bloat not only gets in the way, it annoys me.
• At least three different SubTractor patches must be used.
• MIDI CC control is required of all patches, unless a significant amount of random LFO has been used. (Sample and Hold waveform).
• Organize files! Create a folder to hold original audio files (in sub-folders), DP project, Reason files (appropriately stored in subfolders), and your final Peak File mix in AIFF format.
• Turn in an Audio CD of your final project, labeled with your name, title of work, and duration. Turn in your data to my drop box, as always.

You will be graded on the following:

1. Creativity in use of synthesis to create interesting sounds.
2. Appropriate sonic diversity.
3. Length
4. Use of MIDI CC and DP automation.
5. Use and documentation of use of real-time performance controls.
6. Organization of files.
7. Following turn-in procedure.