musikalische Technik

Hi, and welcome to my page, replete in the wonders of everything related to music and technology, and the crossroads therein.

Labs:
Lab1
Lab2
Lab3
Lab4
Lab-Meters
Lab5
Lab6
Lab7
Lab8(SamplerMacro)

Epsilon II Manual:
Manual

Sampled Sounds - Remaking the "Atlas":
Snare Drum
Tom Tom Drum - or Kick Bass
Warped Guitar
Guitar
Und, letztlich, das originalle Lied: Atlas.mp3

3/30/11
MidTerMinology
Signal: any transmitted electrical impulse or a fluctuating electric quantity, like voltage or current or the strength of an electric field. The fluctuations are read as coded information. Signal is also important for the electronic musician because it represents the sound, image or message that is being sent or created by the synthesizer and received by the amplifier.
Filter: this is an electronic device that is designed to reduce a signal's energy level at a particular frequency. It's subtractive by nature, so it shouldn't add anything to the signal. Multiple filters can be put together to create an equalizer.
MIDI Setting: can be adjusted in a computer's system preferences or settings panel. Important to understand how the MIDI-operated device interfaces w/ other machines, in particular the computer. The MIDI-operated device sends a signal over a port number, and that is unique to the device. 255 ports are available.
Key: generally stated, these represent the basic components of a keyboard. In music, it acts as the reference point for the rest of the notes on a scale. If a key is selected, all other notes on its scale will be played at a different pitch level, but they will all be spaced at equal intervals - or at equal temperaments.
Distortion: a signal can be affected in a number of ways, and this method is one of the most commonly used by the music synthesizer. Basically, it is any deviation of an audio waveform between two points in a signal path. Some forms of this can be good - like compression or oscillation - but others are undesirable.
Pan: A method of affecting an audio signal from one stereo side to another.
*All information was gathered using http://www.sweetwater.com/expert-center/glossary/

3/7/11
The dynamic analysis of the (mostly) acoustic song I've chosen.
Song Title: The Smithsonian Institute Blue
Artist: Captain Beefheart
Songwriters: Captain Beefheart
DoR: 1970
Genre: Psych-Rock, blues-rock, avant-garde
Reason for selection of song: Much of Captain Beefheart's music is undoctored and unsullied by electrical means. Granted, there are electrical instruments used, like the electric guitar and bass, but there are a numerous horns and percussion instruments - even brooms - that are used in the production and arrangement of the songs that it becomes unique for the listener, and often fun to pick the tracks apart and hear the melodies behind the maelstrom that one hears at first listen. The songs are short, too, and makes the analysis thereof relatively simple for the intermediate trying to decipher the advancement things and get good at the beginner stuff.
Further Linkage: Lick My Decals Off Baby Wiki
:01 marimba and bass (probably electric, but maybe not)
:06 guitar and percussion (a lot of cymbal crashes)
:28 guitar seems to flange a lot

2/28/11
Here is the dynamic analysis of the electronic song I have chosen. It's link can be found here. Battles - Atlas
Song Title: Atlas
Artist: Battles
Songwriters: Braxton, Tyondai; Konopka, David; Stanier, John; Williams, Ian
DoR: 2007
Genre(s): Electronic/Post-Rock/Math-Rock/Prog-Rock
Reason for selection of song: I like to add this song to my choice for electronic music because it's hard hitting, rhythmic, and has all the components of a real righteous music synthesis system, even though I don't know what all those components are yet. The process of analyzing this song will help me better understand the characteristics of music creation, and better appreciation.
Further linkage: wiki - battles, new album!, myspace - still exists?!?

Terms and such (1):
1. Synthesis: "Building up; putting together; making a while out of parts." A "bring together" of and "making a whole" from something. In regards to the subject of the course, it can be an organic, a "natural", or a "electronically-produced" sound. Ultimately, the understanding inferred from the term is that one is making something, and in particular, electronic sounds.

2. a. Imitations and Emulations: producing a sound that has many or most of the characteristics of real instruments, and the ability to affect significant features of the sound. b. Suggestions and Hints: A sound that reflects a real instrument, but only slightly. It shares some of the characteristics of the real instrument or sound being mimicked, but upon detailed comparison, the differences are readily evident. c. Alien and Off-the-Wall: Usually completely synthetic in production, and will probably have characteristics like "unusual or unfamiliar harmonic structures with changes over time; constancy of timbre over a wide range; and pitch chug without timbre change." d. Noise-like: variations on "noise" produced by synthesizers, like white noise.

3. The difference between addictive and subtractive synthesis: In additive synthesis, the producer places together plenty of sine waves of different frequencies to develop a final timbre. It can be difficult to control all the assembled sine waves, though. Subtractive, on the other hand, is the removal or filtering of some harmonic content from raw sounds, like square, sawtooth, triangle and sine waves.

4. Wavetable synthesis is a extended form of subtractive. It takes more than one cycle of a waveform and can arrange it so it is selectable in real time.

5. Analog is a continuous signal or flow of information, whereas digital is discrete in nature, and takes snapshots, bites, or samples of information.

6. Physical modeling is the use of mathematical equations to try and describe how an instrument works.

7. Sound synthesis stems as far back in human development as the first bones being struck upon a rock to communicate between individuals and groups.

8. The analog tape recorder was important to the development of today's sound synthesis in a number of ways. It could be manipulated to produce a number of sounds. For instance, the tape's motor could be slowed or sped up, and this affected the pitch of the sound. Double the playback speed from 15 inches per second (ips) to 30ips, and the pitch doubled, as well as bumped it up one octave. Or the tape could be physically edited by cutting it into sections and splicing them together, thereby juxtaposing sounds. Or the tape could be played in reverse. It could be looped; one sound could be recorded over another; and sounds could be multi-tracked so that they could be listened to individually, or all together.

9. The military, academic and commercial research institutions pioneered the first synthesizers.

10. An early commercial use of music synthesis was Walter Carlos's recordings of Bach music using a Moog modular synthesizer.

11. Electro-acoustical refers to the conversion of electrical energy with acoustical energy. An electric piano is a fine example of an electro-acoustical instrument.

Terms and such (2):
1. Ensemble: An ensemble can host more than one instrument. It's the palette in which one arranges the different instruments.

2. Instrument: In REAKTOR terminology, an instrument can be a traditional instrument like Synth or Sampler, an effect like a Delay or Reverb, or anything else like a Sequencer or even just a picture.

3. Macro: A Macro contains a group of Modules that are already connected and contained in their own Module with just the inputs and outputs it needs. A Macro is a little like an instrument but smaller. And it's a little like a Module, only customized to make more complex Oscillators, Filters, Envelope Shapers, Delays, etc. that you might find for example in modular Synths. A Macro is kind of like a folder.

Core:

5. Audio Setting: Use low-latency drivers while working with Reaktor. ASIO and Core Audio (only for Mac OS X). In the Audio Setting window, it's important to configure the system for the users' desired results. Concern oneself with sample rates, latency, and the proper devices and inputs, for instance.

6. MIDI Setting: To use a MIDI keyboard, one must program the proper MIDI specifics to the computer being used, and correspond those to Reaktor's driver.

8. Pitch Module: This is a module that controls the pitch of the audio signal. The Pitch Module will enable a MIDI keyboard to play the Synth.

9. Gate Module: A module that acts as an initial filter of the audio signal, allowing certain frequencies or amplitudes to pass, and others to not. A Gate Module will enable a MIDI keyboard to play the Synth.

10. Snapshot: This is a method within Reaktor meant for creating modified synth patches that were originally factory or packaged settings, but were manipulated by the user.

11. Keyboard Scaling: A parameter found in many modern keyboards whose function is to provide a method for a sound to be altered smoothly across the range of the keyboard. This is accomplished by using the key number as a modulation source and routing it to some parameter the user wishes to alter. Level scaling changes the loudness of the sound, while filter scaling changes its brightness.1

12. Velocity Amount: Controls the volume of the trigger. In MIDI terms, it can also refer to how fast a key is moved by the player.2

13. Note Range: This can refer to a number of different things. For instance, the variation in resonance, saturation, and the oscillator, which has a number of its own unique qualities, like FM operator and the formant frequency.