23.12.16

Joseph Schillinger : The Mathematical Basis of the Arts, 1943


Schillinger, a great underrated music theorist and teacher, brought in USA the visionary 'jazzy' language of Scriabin, the greatest musical genius after Beethoven. George Gershwin spent four years (1932–1936) studying with Schillinger. 

14.12.16

Julian Bream plays for Stravinsky


Excerpt of Julian Bream playing for Stravinsky 
The definitive profile of the great Russian composer/conductor, Igor Stravinsky (1882-1971). Over 80 years old at the time of filming in 1965, Stravinsky was full of the joy of life, with an alert memory for people and events in music, literature, and art. Viewers will be treated to Stravinsky reminiscing about his remarkable life, travelling with his wife aboard ship en route to Hamburg and conducting the CBC Symphony Orchestra and the Festival Singers of Toronto in a recording of his Symphony of Psalms. A rare glimpse of the master and his extraordinary life, throughout which moved such legendary figures as Rimsky-Korsakov, Picasso, Rodin, Debussy, and Dylan Thomas.


13.12.16

A Conversation with Igor Stravinsky, 1957




A Conversation with Igor Stravinsky from The Wisdom Series, 1957. In his Diaries, Robert Craft wrote: "June 13... the 'conversation' between I.S. and me becomes duller, more formal and forced as the hours drag on, but he enjoys being on camera as much as I detest it and is as natural and easy as I am tongue-tied and nervous. Precious little 'Wisdom' is gleaned and 'my' questions are really NBC's."  


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.





8.11.16

Stringed theory

Visualize precisely how and where the soundboards of instruments vibrate, using holographic interferometry.

Low frequencies

Higher frequencies, distinct patches

Even higher frequencies, smaller and smaller vibrating patches




3.11.16

Oberheim Matrix 1000



"The analog Matrix 1000 is essentially 1,000 Matrix 6 patches in a single-space compact rackmount MIDI module. It has the same synth architecture as the Matrix 6. Each of its 6 voices have two DCO's (digitally controlled analog oscillator), a low pass filter, 2 VCA's, 3 envelope gens, 2 LFO's, and 2 ramp gens. The sounds are plentiful and good enough, however sounds can only be edited via MIDI, so you'll need an external MIDI editor (such as MOTU's Unisyn) or Access' Matrix Programmer to edit parameters. You can also load sounds from the Matrix 6 via SysEx or software. The Matrix 1000 provides an excellent source of pads, textures and ambient sounds. It has 195 "keyboard" sounds, 118 "strings", 130 "woodwinds & perc", 239 "synthesizer", 119 "bass", 74 "lead" and 125 "effects". For the price, there is no better way to find genuine analog Oberheim Matrix sounds in a compact and very in-expensive rack module that is loaded with more sounds than you'll ever need! The older versions of the Matrix 1000 have a black front-panel. The newer models in the '90's have a cream colored face-plate. It has been used by Apollo 440, Juno Reactor, Moby, Cirrus, Fatboy Slim, Laurent Garnier, ATB, Depeche Mode, Future Sound of London, Pet Shop Boys, and Faithless."

Via Vintage Synth Explorer.



29.9.16

Xenakis Alive by Peter Hoffmann (2011)

Iannix

"I hope it has become clear that the ideas Xenakis has left us are still valid today. Even more so, they only seem to really unfold their full potential in our time, 10 years after Xenakis’ death. Xenakis lived too early to experience the full impact of his artistic thought onto art. Graphic control of sound is still researched and developed. Stochastic Synthesis has just begun its career in music production. Emergent Composition has a Golden Future. Immersive multimedia events are en vogue. Sieve Synthesis has just started. And there are more aspects to Xenakis’ artistic legacy which radiate into the present and future. I would even say that Xenakis’ ideas are virulent, Xenakis’ thought is contagious and prone to ever-spreading epidemics. It has already transgressed the genres and crossed over to the underground, industrial and noise scene, and is now part of the remix and clubbing culture. This propagation is unparalleled by any other avant- garde composer I know of."

28.9.16

First ever recording of computer music



"The snippets of music were made on Turing's prototype Mark II computer, using the machine's extremely basic loudspeaker known to Turing as "the hooter."



via THE VERGE



7.6.16

The Universal Mind of Bill Evans



Extracted from the movie "The Universal Mind of Bill Evans - Creative Process and Self-Teaching". 
In this part, Bill talks about how to deal with obstacles, and how to build one's vocabulary step-by-step.



31.5.16

I Am The Edison Phonograph (Advertising Record)





This somewhat unnerving recording would have been heard at most Edison phonograph dealers in the early part of the twentieth century — creating, as it were, a talking machine which advertised itself.




16.5.16

Isao Tomita Red Bull Music Academy Tokyo 2014 Lecture


In electronic music, it's hard to exaggerate the importance of Isao Tomita's work. Born in Japan in the 1930s, Tomita imagined other worlds – seemingly outwith his own, human reach – and so used his music to explore the unknown. In the 1960s, he pioneered the use of the Moog synthesizer to not just create note-for-note facsimiles of "real" music, but to re-figure electronic compositions as soundscapes; creating daring new sounds that would become highly influential for science fiction cinema soundtracks, modern synth pop, and much more. Synth nerds, movie fans and music producers alike can all take inspiration from his work, and words.

Isao Tomita (冨田 勲 Tomita Isao, 22 April 1932 – 5 May 2016)



24.4.16

Alan Lomax: The Land Where the Blues Began




"And the thing that I always tried to do with important singers when I met them was to sit down and record everything they knew, give them a first real run-through of their art." Alan Lomax


18.2.16

ITALIAN PUNK HARDCORE 1980-1989 | Il Film | The Movie [COMPLETE]


The birth of Italian hardcore punk. The cities and the hotbeds of punk. Self-management, squats, politics. D.I.Y., tapes and vinyl. Independent labels. Fanzines and counter-culture word-of-mouth. Concerts, rallies, demonstrations. The battles, the violence, the excesses and the drugs. The antagonistic relationship between the punk movement and the press, daily papers and magazines. The beginnings, rise and fall of the big bands of the '80s. Interviews and rare live footage from Raw Power, Wretched, Negazione, CCM, Indigesti, Kina, Peggio Punx, Impact, Upset Noise and many others.

Official relase date: September 7th 2015

Produced by LoveHate80.it 


17.2.16

Roland D-50



The D-50 is an all-time favorite digital synth that's still just as popular today as when it first came out in '87. Once Roland's hottest digital synth, it competed against the Yamaha DX7, and was much easier to use. By joining 8-bit PCM samples with "LAS" synth-generated sounds, the D-50 is capable of unique and complex sounds. The PCM samples contained the attack transients, while the rest of the sound came from the Linear Arithmatic Synth (LAS) section which sounds very analog, with subtractive-style synthesis and low-pass-resonant filters. Built-in chorus and (for the first time) digital reverb are also included for giving your sounds space and life! It also has a joystick controller for real-time timbre manipulation. The D-50 was great for new and non-acoustic, percussive, ethereal and beautiful pads & sounds. (Source vintage synth explorer)


15.2.16

12.2.16

Beta testing iMPC Pro Version 1.5 (19420)

Thanks to Retronyms Support I'm testing iMPC Pro beta pre-release Version 1.5 (19420) for iPad since yesterday. 

What to test 1

What to test 2

What to test 3

The new pad effect, Bit Crusher

My first test results: greatly improved stability; finally a good CPU and RAM management; some bugs still present, but that does not make it impossible operability. Nice work, Retronyms.






20.1.16

Unconventional Tools for Sound Design 1: SPEAR





SPEAR by Michael Klingbeil

SPEAR (Sinusoidal Partial Editing Analysis and Resynthesis) is an application for audio analysis, editing and synthesis. The analysis procedure (which is based on the traditional McAulay-Quatieri technique) attempts to represent a sound with many individual sinusoidal tracks (partials), each corresponding to a single sinusoidal wave with time varying frequency and amplitude. Something which closely resembles the original input sound (a resynthesis) can be generated by computing and adding all of the individual time varying sinusoidal waves together. In almost all cases the resynthesis will not be exactly identical to the original sound (although it is possible to get very close). Aside from offering a very detailed analysis of the time varying frequency content of a sound, a sinusoidal model offers a great deal of flexibility for editing and manipulation. SPEAR supports flexible selection and immediate manipulation of analysis data, cut and paste, and unlimited undo/redo. Hundreds of simultaneous partials can be synthesized in real-time and documents may contain thousands of individual partials dispersed in time. SPEAR also supports a variety of standard file formats for the import and export of analysis data. Spectral files produced by SPEAR can be used to generate pitch and other data for use in AC Toolbox, an algorithmic music composition program.

Bibliography:

13.1.16

The Art of Electronics - Paul Horowitz, Winfield Hill



At long last, here is the thoroughly revised and updated third edition of the hugely successful The Art of Electronics. It is widely accepted as the best single authoritative book on electronic circuit design. In addition to new or enhanced coverage of many topics, the third edition includes 90 oscilloscope screenshots illustrating the behavior of working circuits, dozens of graphs giving highly useful measured data of the sort that is often buried or omitted in datasheets but which you need when designing circuits, and 80 tables (listing some 1650 active components), enabling intelligent choice of circuit components by listing essential characteristics (both specified and measured) of available parts. The new Art of Electronics retains the feeling of informality and easy access that helped make the earlier editions so successful and popular. It is an indispensable reference and the gold standard for anyone, student or researcher, professional or amateur, who works with electronic circuits.