Guide To Music Tech

2010

This document contains paragraphs that have been added and / or modified in the second edition of "Electronic Music and Sound Design" volume 1 updated to Max 6. The new parts are marked in red. CONTENTS Changes pages. 51-67 • 1 Changes pages. 71-72 • 20 Changes pages. 85-86 • 22 Changes page. 90 • 24 Changes page. 94 • Changes page. 97 • 26 Changes page. 109 • 27 Changes page. 118 • 28 Changes page. 151 • 29 Changes pages. 159-161 • 30 Changes page. 162 • 33 Changes page. 163 • 34 Changes page. 370 • 35 Changes page. 451 • 36 Addendum 2nd edition "Electronic Music and Sound Design" volume 1

"Electronic music and Sound Design Vol. 3" Theory and Practice with Max 8, 2023

This is the third in a series of volumes dedicated to the theory and practice of digital synthesis, signal processing, electronic music, and sound design. All the volumes are composed of alternating sections on theory and computer practice. It is part of a structured teaching method incorporating a substantial amount of online supporting materials: hundreds of sound examples and interactive examples, videos, theory and practice glossaries, tests, programs written in Max, a Max object library created specifically for these volumes, and many practical activities (often with Gen and Jitter). Over 700 pages, hundreds of patches, online support, tests, reverse engineering exercises, analyses, completion and correction of patches, etc. Structured for use in university courses, the book is equally useful for self-learners and for those studying under the guidance of a teacher. This third volume can be used by advanced users who have a firm grasp of the concepts and Max practices outlined in the first two volumes.

We review Seewave, new software for analysing and synthesizing sounds. Seewave is free and works on a wide variety of operating systems as an extension of the R operating environment. Its current 67 functions allow the user to achieve time, amplitude and frequency analyses, to estimate quantitative differences between sounds, and to generate new sounds for playback experiments. Thanks to its implementation in the R environment, Seewave is fully modular. All functions can be combined for complex data acquisition and graphical output, they can be part of important scripts for batch processing and they can be modified ad libitum. New functions can also be written, making Seewave a truly open-source tool. *

2021

This class will meet on Tuesdays between 11:00am and 12:20 pm. Additional material, assignments and online workshops will be scheduled for Thursday between 11:00 am and 12:20 pm. Required: Humanities 101/102. Technical prerequisites require consistent, secure access to a personal computer with up-to-date word processing and graphics software (e.g., HTML5 and/or a trusted video player), along with high-speed internet, as most of the works will be read via screen. Please refer to the course schedule for details on the assigned readings. Students are expected to read and be familiar with the assigned weekly reading as the course progresses. In addition to reviewing the weekly reading, please create and keep track of your own reading notes, questions, and discussion topics. Duration: 19 January-29 April 2021. This course provides three credits for a Humanities course at the undergraduate level. Students should anticipate a workload of 6-9 hours per week, including class time, in order to fulfil course requirements. General Objectives This course provides an introduction to sound and its manifold uses and functions in the digital era thanks to ongoing advances in audio and information technologies. Beginning with a broad survey of various timely innovations in recording, production and distribution devices over the last century, the course will offer students an effective primer in the science of how sound has been measured and understood historically as a media format. Complementing this aim, students will be introduced to specific core concepts and terminologies in audio technology, including, sample rates, bit depth, wave forms, hertz and frequency, situated in relation to the principles of human audio perception. Instructional Objectives: Such concepts will enable us to explore different techniques in audio recording, mixing, synthesis and design with an emphasis on contemporary digital modes of production. Towards the latter half of the course, we will develop these techniques further in combination with the fundamentals of programming (for example, logic, loops, functions, objects, etc.) in order to examine how advances in computational thinking have enhanced our respective abilities as artists, scientists and engineers to use audio both to produce and to interpret information about the world around us. In this part of the course, students will work with and even design new audio tools for a wide array of digital production environments, including Web-based media, soundscapes, art installations and videography. The final modules of the course will examine the relatively recent field of sonification or the use of audio technology to process and represent data. By studying this highly experimental range of audio technology theories and practices, students will see more precisely how computers continue to transform some of our most basic ideas of what sound actually is and the many ways it contributes to almost every field of knowledge.

SAR Journal - Science and Research

In this study, we found that the relationship between the Fast Fourier Transform (FFT) and music is more suitable than other methods. The LabVIEW program is capable of implementing the FFT in a shorter time, which is used to convert a signal from the time zone into a frequency field. FFT was used to find harmonics in musical notes, model sound waves, and define sound by breaking it into pieces. The amplitude of the sound received from the filtered analog input after FFT is applied is kept above the amplitude threshold level to prevent noise (low voice). If the frequency of the selected tuning note is in the specified frequency (despite possible deviations) range, tuning control is provided and the notation is performed. At the same time, spectral analysis can be examined thanks to FFT. The user can select the instrument and note they want on the interface screen. In the application, it was ensured to examine the notation and tuning process used in the intended standard reference data.

Frequency refers to how often something happens --or in our case, the number of periodic, compression-rarefaction cycles that occur each second as a sound wave moves through a medium -and is measured in Hertz (Hz) or cycles/second. The term pitch is used to describe our perception of frequencies within the range of human hearing.

Journal of New Music Research, 2002

A (partial) taxonomy of software applications devoted to sounds is presented. For each category of software applications, an abstract model is proposed and actual implementations are evaluated with respect to this model.

2017

This chapter explores the role of visual representation of sound in music software. Software design often remediates older technologies, such as common music notation, the analogue tape, outboard studio equipment, as well as applying metaphors from acoustic and electric instruments. In that context, the aim here will be study particular modes in which abstract shapes, symbols and innovative notations can be applied in systems for composition and live performance. Considering the practically infinite possibilities of representation of sound in digital systems-both in terms of visual display and mapping of gestural controllers to sound-the concepts of graphic design, notation and performance will be discussed in relation to four systems created by the author: ixi software, ixiQuarks, ixi lang, and the Threnoscope live coding environment. These will be presented as examples of limited systems that frame the musician's compositional thoughts providing a constrained palette of musical possibilities. What this software has in common is the integral use of visual elements in musical composition, equally as prescriptive and representative notation for musical processes. The chapter will present the development of musical software as a form of composition: it is an experimental activity that goes hand in hand with sound and music research, where the musician-programmer has to gain a formal understanding of diverse domains that before might have been tacit knowledge. The digital system's requirements for abstractions of the source domain, specifications of material, and completeness of definitions are all features that inevitably require a very strong understanding of the source domain.

Applied Sciences, 2018

IEEE Signal Processing Magazine

HAL (Le Centre pour la Communication Scientifique Directe), 2018

The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use.

2001

Reviewed by Douglas Geers To the uninitiated, the field of computer music may seem a bit overwhelming, in that it combines new technologies with music composition and performance practices that often seem quite distant from the Western classical tradition.} In fact, the constantly evolving technology makes it difficult even for specialists in the field: imagine being a violin instructor in a situation in which every few months several new violins with different shapes, which require new playing techniques, come to the market, purporting to be vast improvements over previous designs (and which often are)! This analogy might make some musicians want to give up on computer music, but the fact is that our entire society is undergoing a technological revolution, and it only makes sense for musicians to utilize these innovations too. Just as Wagner employed the improved brass instruments of his day, a wide array of possibilities are newly available to today's composers, theorists, and musicologists-because of computers. For those who are intrigued but unsure where or how to get started, two recently published texts combine to serve as a thorough introduction to both the history and techniques of computer music. The Computer Music Tutorial Edited by Curtis Roads, this is a massive and exhaustive introduction to nearly every aspect of current computer music composition and research. Moreover, despite its encyclopedic breadth, the soft-cover edition of the book is listed for $50.00-cheap, by textbook standards. Very soon after its publication, The Computer Music Tutorial has already achieved "classic" status in computer music circles. The greatest value of this book lies in its wide array of topics and in their thorough presentation. Every major subject in the field of computer music is addressed, and many of them are dealt with in sets of multiple

2018

Disclaimer Neither the ABC_DJ consortium as a whole, nor a certain party of the ABC_DJ consortium warrant that the information contained in this document is capable of use, nor that use of the information is free from risk, and accepts no liability for loss or damage suffered by any person using this information. Neither the European Commission, nor any person acting on behalf of the Commission, is responsible for any use which might be made of the information in this document. The views expressed in this document are those of the authors and do not necessarily reflect the policies of the European Commission.

Signal Processing, 2009

The waveform of a simple sustained tone emitted from musical instruments such as a flute played by even the best musician is never exactly periodic. There is always some variation over time in the waveform of a single pitch that is characteristic of the instrument itself. In this paper, we employ the signal-coherence function introduced by Hinich [A statistical theory of signal coherence, J. Oceanic Eng. 25(2) (2000) 256-261] to study the subtle variation of tones from several instruments played by accomplished musicians. This measure characterizes the amount of variation in each Fourier component as a random amplitude-modulation component added to a coherent narrowband sinusoid. The signal-coherence function is computed from several digitized acoustic signals of several musical instruments. The signal-coherence functions show that there are important differences between the same notes produced from different instruments. The signal coherence of a vibrato, a deliberate modulation of a tone, is analyzed for the first time using the signal-coherence function. We show that for most practical playing conditions it has a small effect for lower frequencies. This allows characterization of modulation variations in sustained portions of sound with and without vibrato. The signal-coherence processing method applied to musical acoustics could lead to more realistic music synthesizers.

P.2) RESEARCH (P.2-4) CONCEPTS(P.4-5) REALISATION(P.5-6) CONCLUSION(P.8) REFERENCES (P.8-9) BIBLIOGRAPHY(P.10) RESEARCH PORTFOLIO AND ANNOTATED BIBLIOGRAPHY (P.11-12) WORD COUNT: 2773 (ESSAY) of 1 12 Abstract