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Live Coding and Csound 90
PROCEEDINGS OF THE rd 3 INTERNATIONAL CSOUND CONFERENCE Edited by Gleb G. Rogozinsky ICSC 2015 Saint Petersburg, Russia 2 – 4 October 2015 2015 ICSC 1 The Bonch-Bruevich Saint Petersburg State University of Telecommunications PROCEEDINGS OF THE 3rd INTERNATIONAL CSOUND CONFERENCE Edited by Gleb G. Rogozinsky ICSC 2015 Saint Petersburg, Russia 2015 ICSC 2 – 4 October 2015 2 Proceedings of the Third International Csound Conference © Gleb G. Rogozinsky, 2016 © The Bonch-Bruevich St. Petersburg State University of Telecommunications, 2016 ISBN 978-5-89160-124-6 УДК 004.9 UDC 004.9 http://csound.github.io/icsc2015/ 2015 ICSC 3 FOREWORD Dear reader, You have before you the proceedings of a unique conference. Csound is a computer music language that has been continually evolving since its inception in 1986. During that time it has united people of all ages from around the world and from a wide range of disciplines: audio technology, media programming, contemporary, academic and avant-garde music, digital signal processing, telecommunications and electronic dance music. The Csound community presents a unique forum of users where programming and compositional issues are discussed in equal measure and with equal energy. A special aspect of this conference was that it took place in St. Petersburg, Russia: a city of great culture, world-renowned museums and beautiful white nights, and the city where Nikolay Rimsky-Korsakov and Dmitry Shostokovich wrote their most famous pieces. Without doubt, St. Petersburg merited hosting the 3rd International Csound Conference. Russia has great heritage in the world of electronic music, being the country from which the theremin and the ANS synthesizer originated, but in more recent times Russia has seen less innovation, so I am particularly proud to be able to contribute to remedying this by hosting this conference. -
History of Electronic Musical Instruments and Basic Concepts
ELECTRONIC MUSICAL INSTRUMENTS A brief history and basic concepts Traditional musical instruments • String, horn and percussive instruments. • A standing wave (in string or inside a body), or vibrations (in percussive instruments) create audible sound waves. • The sound is created according to the laws of physics. • A musician is only able to modify created sounds, by articulation. Electric instruments • Electric guitar, Hammond organ and similar instruments. • Electromagnetic disturbances in the pickup, due to string vibration or tone wheel rotation. • The electric signal is amplified to create sounds. • Still, a human is not able to control how the sound is created (only articulation and processing). • Such instruments are not the topic of this course. Electronic musical instruments (EMI) These are the instruments we’re interested in. • A human fully controls the process of sound creation. • Two main approaches: – sound synthesis: sounds created from scratch, – sampling: recording, processing, playback • Various forms: – hardware: analog, digital, hybrid – software (virtual): on a computer Sound synthesis • Synthesis – from Greek syntithenai – „compose from elements”. • A sound is created from scratch, with hardware or software created and controlled by a human. • Algorithm – a method of creating musical sounds. • Many synthesis algorithms were developed. • Sound synthesizer – EMI that performs sound synthesis. • Sampling is not a synthesis: sounds are not created, existing sounds (samples) are processed by a sampler. • Modern EMIs are often samplers + synthesizers (2 in 1). Two approaches to EMIs What do we expect from EMIs? • Approach #1: we want new, interesting sounds (e.g. subtractive synthesis). • Approach #2: we want “many instruments in one box”, a criterion: how realistically do the instruments sound. -
SUBTRACTIVE SYNTHESIS Introduction
Electronic musical instruments SUBTRACTIVE SYNTHESIS Introduction Subtractive synthesis • From Latin subtractio • First synthesis method. • Also called analogue or modular synthesis. • For many musicians, “*the* synthesis”. • Originally analogue method, still used in digital instr. • The main concept: – oscillators create rough harmonic signals, – filters shape the static spectrum, – modulators introduce dynamic changes to the sound. Source and modifier The subtractive synthesis works on a “source-modifier” basis: • source - oscillators • modifiers – filters and modulators Oscillator Filter Amplifier Modifiers Modulators Source and modifiers Guitar Synthesizer Source Vibrating string Signals from oscillators Modifier Resonant body Filters Modulation A way of picking and Modification of the pressing strings module parameters Oscillators - VCO VCO – Voltage Controlled Oscillator Generates harmonic signals. A classic VCO generates the following signals (waves): • sine wave • triangle wave • square (rectangular) wave – regulated pulse width • sawtooth wave Modern VCOs can also generate more complex waves. Simple waves from VCO sine triangle 1 1 1 1 Poziomwzględny Poziomwzględny 1/9 1/25 0 0 0 0 0 0 0 0 0 0 0 0 1/49 0 1/81 0 0 0 1 2 3 4 5 6 7 8 9 10 1 2 3 4 5 6 7 8 9 10 Numer składowej Numer składowej 1 square 1 sawtooth 1 1 1/2 1/3 1/3 Poziomwzględny Poziomwzględny 1/4 1/5 1/5 1/7 1/6 1/7 1/9 1/8 1/9 1/10 0 0 0 0 0 0 0 1 2 3 4 5 6 7 8 9 10 1 2 3 4 5 6 7 8 9 10 Numer składowej Numer składowej Simple waves from VCO Square wave can have different shape according to the pulse width or fill rate parameter (PWM, p/m). -
A New Approach to the Analysis of Timbre
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2017 A New Approach to the Analysis of Timbre Megan L. Lavengood The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2188 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] A NEW APPROACH TO THE ANALYSIS OF TIMBRE by MEGAN LAVENGOOD A dissertation submitted to the Graduate Faculty in Music in partial Fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2017 ii © 2017 MEGAN LAVENGOOD All rights reserved ABSTRACT A New Approach to the Analysis of Timbre by Megan Lavengood Advisor: Professor Mark Spicer Two distinct approaches to timbre analysis exist, each with complementary strengths and limitations. First, music theorists from the 1980s adopt a positivist mindset and look for ways to quantify timbral phenomena, often using spectrograms, while avoiding any cultural dimensions in their work. Second, writings of the past five years focus on the cultural as- pects of timbre but make no use of spectrograms. This dissertation builds upon these two ap- proaches by synthesizing them: discussion is grounded in spectrogram analysis, but situated within a broad cultural context, through interactions with listener experience and ethno- graphic study of music periodicals and other published interviews. The theory is applicable to any genre of music, but 1980s popular music is used as a case study, with a particular fo- cus on the Yamaha DX7 synthesizer, used in much of this music. -
Synth1 V1.12 Unofficial User Manual
Ichiro Toda’s Synth1 v1.12 unofficial User Manual Compiled by Zoran Nikolic, 2011. [email protected] S y n t h 1 V irtual Analog v1.12 2010.5.23 P a g e | 2 Table of Contents Table of Contents ................................................................................................................................. 2 Introduction to Synth1 ........................................................................................................................ 8 Operational Environment and Limitations ......................................................................................... 9 Compatible CPU ............................................................................................................................... 9 Compatible OS .................................................................................................................................. 9 Compatible Hosts ............................................................................................................................. 9 Plugin Format ................................................................................................................................... 9 Sampling Frequency ......................................................................................................................... 9 Limitations ........................................................................................................................................ 9 Installation and Uninstallation .........................................................................................................