Pagine

2.12.16

Unconventional Tools for Sound Design 2: TAPESTREA




TAPESTREA by Ananya Misra, Perry Cook, Ge Wang 

TAPESTREA (Techniques And Paradigms for Expressive Synthesis, Transformation, and Rendering of Environmental Audio, or taps) is a unified framework for interactively analyzing, transforming and synthesizing complex sounds. Given one or more recordings, it provides well-defined means to: 
  • identify points of interest in the sound and extract them into reusable templates 
  • transform sound components independently of the background and/or other events 
  • continually resynthesize the background texture in a perceptually convincing manner 
  • controllably place event templates over backgrounds, using a novel graphical user interface and/or scripts written in the ChucK audio programming language 
Taps provides a new way to completely transform a sound scene, dynamically generate soundscapes of unlimited length, and compose and design sound by combining elements from different recordings. Tailored for sound designers, audio researchers, composers, and anyone interested in experimenting with sound.

Bibliography:
Musical Tapestry: Re-composing Natural Sounds
A New Paradigm for Sound Design


Part 1, Unconventional Tools for Sound Design 1: SPEAR

24.11.16

A Composer's Guide to Game Music by Winifred Phillips




A wonderful and inspiring book by a "superstar of video game music". Art and craft shown here are applicable to any kind of composer, and the book is full of tricks exploitable in any field of music composition. The author also has a great cultural perspective: you will discover that Cage, Risset and Berlioz can draw inspiration for the music of the bloodiest games. Last but not least, there are great advice on the business-aspect of a game composer's career.
The book was described by The Boston Globe as “the first book designed to help experienced musicians brave the transition to the world of game composing," and was hailed by Sound on Sound magazine as "partly educational and partly inspirational… a great introduction to this specialist art." Music Connection Magazine added that "Phillips' hands-on insights and advice make this one a keeper," and Film Score Monthly praised the book as "a touchstone academic achievement."

Check out Winifred Phillips' great Gamasutra Blog, which contains additional material useful in reading the book.



18.11.16

Karlheinz Stockhausen - Mikrophonie 1 - Film 1966



Structuralism and Randomness. The contradiction at its best. Every great artist is a Joker. 

Performed by Aloys Kontarsky, Alfred Alings, Harald Boje, Johannes G. Fritsch and Karlheinz Stockhausen 

Directed by Francois Béranger 

Groupe de Recherches Musicales


16.11.16

Roland SH-101




"The SH-101 is very cool, especially for techno, drum&bass and ACID! It's a monophonic bass synthesizer. Its sound lies somewhere between the TB-303 and a Juno bass sound. It has a lot of simple but cool features. You can control the VCF, pitch, LFO or all from the pitch bender. It has a white noise generator, arpeggiator with up, down and up/down patterns and a simple real-time sequencer. The LFO offers random, sine, square or noise waveforms. And normal or auto portamento effects give you that elastic bass sound. There are external clock inputs for the sequencer and arpeggiator, CV/GATE inputs and outputs and a CV hold pedal. It is used by Orbital, Future Sound of London, Überzone, The Prodigy, 808 State, The Grid, Cirrus, Eat Static, Jimmy Edgar, Apollo 440, Devo, Union Jack, Luke Vibert, Dirty Vegas, Josh Wink, the Crystal Method, Aphex Twin, Astral Projection, Les Rythmes Digitales, Sense Datum, Squarepusher, Sascha Konietzko of KMFDM/MDFMK, Freddy Fresh, Lab-4, Nitzer Ebb, the Chemical Brothers, Boards of Canada and many more." 




14.11.16

IRHT COMPARATIO medieval music manuscripts database

Nulla talis comparatio est, sed sunt lapides pretiosi in illa.


The new database by IRHT (INSTITUT DE RECHERCHE ET D'HISTOIRE DES TEXTES), COMPARATIO, relates to the liturgical chants of the Office, preserved in latin medieval manuscripts. Its particularity is to give not only the text, but the music of these songs. They are transcribed from manuscripts of various origins because the singing of the Office is significantly less standardized than that of the Mass: the different regions and the different religious orders present significant variants, both in music and in the text. The study of these variants thus enables the reader to direct his research towards this or that origin. Each song in this database - currently about three hundred - is documented on average by about twenty transcriptions extracted from manuscripts originating from France, Germany, Italy and Central Europe.