Author: Keith Kothman
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(compMus1) Project 1 Workflow
Since project 1 calls for you to use at least two different programs, and you will create a lot of files over the course of the project, it is helpful to have a grasp of workflow for the project. The first thing you need to do is gather your source recordings. Remember, these recordings need…
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(compMus1) Peak errors
This is a recurring problem, and one that needs to go in Jeff’s studio blog. When trying to perform almost any edit or process in Peak, users will often encounter an error to the effect: Unable to perform <process>. All scratch disks may be full, , or the process may have been canceled. This is…
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(compMus1) Festival of New Music
The Festival of New Music is next weekend. The basic schedule: Thursday (1/29): Guest Composer Marilyn Shrude will talk to the composition seminar. All are invited. Friday (1/30): Concert at 8pm Saturday (1/31): Concerts at 11am, 3pm, and 8pm.
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(compMus1) Analog and Digital
The terms analog and digital only have meaning for audio when it is recorded or reproduced using electronic means (including computers). Fundamental Stuff Analog is continuous; Digital is discrete Analog refers to analogous (one thing is similar to another thing); Digital refers to numbers. Analog Recording/Reproduction Fundamental principle: transduction (the changing of energy from one…
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(compMus1) Audio Properties
For our purposes, we’re interested in a limited set of properties of audio, but we want to make sure that we distinguish between what is a physical property and what is a perceptual property, and what properties relate to one another. Physical Properties (Acoustics) Frequency Amplitude Spectrum Perceptual Properties (Psychoacoustic) Pitch (related to frequency) Amplitude…
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(compMus1) Collecting Sounds
You will need sound files for your concrete music project. There are a number of places you can look for free, prerecorded sounds to use. On the Macs you should find an iLife Sound Effects folder. The easiest way to find it is to choose the local hard disk and search for “iLife Effects”. Online,…
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(compMus1) Reading Assignment: Tape Composition
For Tuesday, finish reading chapter 5 in E/E (pp. 123 – 140, available here as chap5.pdf) and answer the following questions: What can tape splicing achieve with regards to the sequence of events on a recording? Name a composer and piece that uses tape degeneration as part of the creative process. How was tape echo…
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(compMus1) Fundamental Traits of Electronic Music
From E/E: The sound resources available to electronic music are unlimited. (You are not limited to the sounds of traditional musical instruments.) Electronic music can expand the perception of tonality. (Microtonality, or any arbitrary division of the octave is possible. The de-emphasis of pitch – noise- is also just as possible as pitch.) Electronic music…
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(compMus1) Listening List 1
The first quiz is February 5, which includes a short listening list. Audio files are here. You will be responsible for knowing the name of the composer, title, and year(s) composed. Pierre Schaeffer: Etude Aux Chemins De Fer, 1948 John Cage: Williams Mix, 1952 Otto Luening: Low Speed, 1952 Hugh Le Caine: Dripsody, 1955 Edgard…
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Jeff Seitz's Studio Blog
Jeff Seitz is maintaining a blog that will keep you updated with software installs, problem reports, and useful studio tips throughout the musicTech studios. It is a great resource for troubleshooting, how-to’s, and problem solving in the lab. If you’re experiencing problems in the lab, this is a good place to look for answers. jeffseitz.wordpress.com…