Author: Keith Kothman
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(sonicArts) first week business
The Blackboard site has not quite populated with all students, so I’ll post some early things here. You can always download a copy of the syllabus here. I know that this is important to you. Really, it is. Read the first two sections of Chapter 1 from Jeffrey Hass’s Introduction to Computer Music (Introduction and Sound).…
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(musTh625) absynth synthesis tips
Coming up with interesting analog synthesis instruments takes some practice and experimentation. To get you started, I’m outlining a basic work procedure. As you get more experienced, you can make changes to this process and try more techniques. basic outline At the very beginning, start with a new sound (File > New Sound). This brings…
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(musTh625) final project: synthesis
Due Saturday, June 14, by midnight. overview Compose a short work using virtual analog synthesis. The duration requirements will vary depending on how much of your previous project work you choose to include in this project. If you are creating a new project with little to no integration of material from previous projects, then the…
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(musTh625) listening 2
Due Wednesday, 6/10. (email to me) Create listening guides for the following pieces: Jason Bolte: Putt’n Around (on SoundCloud) John Chowning: Stria (excerpt) Two of the following: Richard Devine: Plonked Spectral (First version, track 1, from Risp LP) Brian Eno: Matta (from Apollo) Amon Tobin: Journeyman (from Isam) The Bolte is available on SoundCloud (link provided above). The others are available…
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(musTh625) modulation synthesis
Modulation synthesis allows for the creation of complex spectra from simple waveforms. Absynth includes FM synthesis as a source/generator, and ring modulation as a process (with a fixed frequency modulator). You can read about modulation synthesis in this previous post.
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(musTh625) understanding synthesis
I’ve already outlined some basic synthesis controls, as they are used in kontakt. Here’s a previous post that outlines synthesis in general. Having posted about controls and filters already, it is especially useful to look at the generators section. For a quick overview of Absynth, visit this post. I will post more about Absynth soon, especially as it…
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(musTh625) using kontakt with digital performer
A simple overview of using Kontakt as a virtual instrument in Digital Performer… kontakt, virtual instruments, plugins Kontakt, like many virtual (software) instruments, can run as a standalone application or within a DAW host, such as Digital Performer (or Pro Tools, Logic, Ableton Live, etc.). When it is running within a DAW, we refer to…
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(musTh625) intro to kontakt 5
The key to using Kontakt is to understand the hierarchy sample to instrument to rack, and how to use effects and modulation sources. interface Kontakt uses the metaphor of hardware samplers in a rack. As part of this rack, Kontakt includes a multi-purpose browser (files, libraries, etc.), an output mixer, and an onscreen keyboard that…
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(musTh625) midi basics
I have a previous post that outlines MIDI information. Jeffrey Hass has a full chapter as part of his online Introduction to Computer Music. (pages 1 – 5, 11 and 12 are the most applicable to what we are doing) For our purposes in this short summer course, it is most useful to understand the…
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(musTh625) basic synthesis controls in kontakt
Kontakt implements a wide range of synthesis controls, including envelopes, LFOs, filters, and other processors. envelopes An envelope is a function that changes over time, applied to some audio parameter. The most common envelope you will use is the amplitude envelope, but envelopes can be applied to any parameter, including pitch, filter frequency, filter resonance,…