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“Knowing Is Seeing”: the Digital Audio Workstation and the Visualization of Sound
“KNOWING IS SEEING”: THE DIGITAL AUDIO WORKSTATION AND THE VISUALIZATION OF SOUND IAN MACCHIUSI A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO September 2017 © Ian Macchiusi, 2017 ii Abstract The computer’s visual representation of sound has revolutionized the creation of music through the interface of the Digital Audio Workstation software (DAW). With the rise of DAW- based composition in popular music styles, many artists’ sole experience of musical creation is through the computer screen. I assert that the particular sonic visualizations of the DAW propagate certain assumptions about music, influencing aesthetics and adding new visually- based parameters to the creative process. I believe many of these new parameters are greatly indebted to the visual structures, interactional dictates and standardizations (such as the office metaphor depicted by operating systems such as Apple’s OS and Microsoft’s Windows) of the Graphical User Interface (GUI). Whether manipulating text, video or audio, a user’s interaction with the GUI is usually structured in the same manner—clicking on windows, icons and menus with a mouse-driven cursor. Focussing on the dialogs from the Reddit communities of Making hip-hop and EDM production, DAW user manuals, as well as interface design guidebooks, this dissertation will address the ways these visualizations and methods of working affect the workflow, composition style and musical conceptions of DAW-based producers. iii Dedication To Ba, Dadas and Mary, for all your love and support. iv Table of Contents Abstract .................................................................................................................. -
A Study of Digital Samplers in Two Eras
On The Significance of Interface Design A Study of Digital Samplers In Two Eras A thesis submitted by Bjørnar Ersland Sandvik In partial fulfillment of the requirements for the Master’s degree in Musicology Department of Musicology Faculty of Humanities University of Oslo November, 2016 Adviser: Ragnhild Brøvig-Hanssen II Acknowledgments The process of completing this thesis would not have been possible without the help and support of a number of people. First of all, I wish to thank my supervisor, Ragnhild Brøvig- Hanssen, for taking a genuine interest in my work, and being so generous with her time, guidance, and support. Her contribution has been absolutely invaluable, and I have appreciated our conversations, her detailed and constructive comments on all of my drafts, and her general encouragement throughout the process. I was lucky enough to get the opportunity to present a draft of this thesis at the 10th Art of Record Production conference at Drexel University, Philadelphia in November 2015. I would like to thank the organizers of the conference, as well as the other participants for valuable feedback, inspiring paper presentations, and interesting conversations. A special thanks go to my co-student Emil Kraugerud, for being such a great travelling companion, and also to Associate Professor Hans T. Zeiner-Henriksen for joining us on a memorably day of sightseeing in New York. In addition, I want to thank the rest of my co-students for interesting conversations, important lunch breaks, and not least our short-lived but magnificent weekly ritual of celebrating “kakefredag” (cake Friday) at the university. -
SOUND SYNTHESIS 02– Page 1 of 13
FH Salzburg MMA – SOUND SYNTHESIS 02– Page 1 of 13 FH MMA SALZBURG – SOUND SYNTHESIS SOUND SYNTHESIS 02 7. Samplers and Sampling Technology ▪ A bit of History – Before Sampling ▪ Hardware Digital Samplers ▪ Software Samplers ▪ Sampling Technology ▪ Typical Structure of a Musical Sampler 7. SAMPLERS AND SAMPLING TECHNOLOGY A BIT OF HISTORY – BEFORE SAMPLING PIPE ORGANS Figure 1: The Arp-Schnitger organ in the Ludgerikirche, Norden (Germany) The idea to imitate the sound of musical instruments with another instrument is not new: already centuries ago pipe organs included several registers that were at least inspired by other instruments and that sometimes really sounded very close to the originals (flutes, trumpets, cornets, bassoons, etc.). To create a vast amount of different sound colors, the pipes were manufactured using different materials (wood, tin metals, etc.) and shapes (cylinder, cone, prism, etc.). For certain registers (such as trumpets, bassoon, cornets etc.) reeds were also used. Other registers used more than one row of pipes, slightly detuned against each other (imitatio violistica, vox humana) to obtain a chorus-like effect. Typical organ register combinations were obtained through an additive process, adding to the original tone registers tuned in octaves and fifths (Mixtur, or Organo Pleno), or combinations of fifths and thirds (Sesquialtera). As the addi- tional rows of pipes were tuned according to the natural overtones of the original tone, they tended to blend together creating a new timbre and were not perceived as separate notes. This made the pipe organ one of the most powerful and flexible instruments of all times. However, it never really be- came very good at imitating orchestral string sounds, and it was not good at all at imitating percussive ones. -
Ableton Reference Manual Version 8 Live Version 8.0.1 for Windows and Mac OS April, 2009
Ableton Reference Manual Version 8 Live Version 8.0.1 for Windows and Mac OS April, 2009 Created by Bernd Roggendorf, Gerhard Behles, Robert Henke, Awi, Reiner Rudolph, Stefan Haller, Stefan Franke, Frank Hoffmann, Andreas Zapf, Ralf Suckow, Gregor Klinke, Matthias Mayrock, Friedemann Schautz, Ingo Koehne, Jakob Rang, Pablo Sara, Nicholas Allen, Henrik Lafrenz, Jan Buchholz, Kevin Haywood, Dominik Wilms, Christian Kleine, Amaury Groc, Daniel Büttner, Alex Koch, Henrik Hahn, Simon Frontzek, Torsten Wendland, Torsten Slama, Eduard Müller, Jeremy Bernstein, Bernard Chavonnet, Carl Seleborg, Claes Johanson, Bernhard Bockelbrink, Nico Starke, Jörg Kluÿmann, Stefan Brunner, Tobias Hahn, Stefan von der Mark, Carsten Henÿinger, Stephan Diehl, David Talbot, Robert Feldbinder, Diez Roggisch, Justine Lera, Dennis DeSantis, Ian Gallagher, Philipp Gries, Marie Hoffmann, Marian Kalus, Stephan Krohn, Michael Dühr, Dennis Fischer. Reference Manual by Dennis DeSantis, Ian Gallagher, Kevin Haywood, Rose Knudsen, Gerhard Behles, Jakob Rang, Robert Henke, Torsten Slama. Content provided by: SONiVOX www.sonivoxrocks.com Chocolate Audio www.chocolateaudio.com Puremagnetik www.puremagnetik.com Cycling '74 www.cycling74.com SonArte www.sonarte.ca e-instruments www.e-instruments.com Zero-G www.zero-g.co.uk Physical Modeling technology provided by: Applied Acoustics Systems www.applied-acoustics.com Copyright 2009 Ableton AG. All rights reserved. Made in Germany. This manual, as well as the software described in it, is furnished under license and may be used or copied only in accordance with the terms of such license. The content of this manual is furnished for informational use only, is subject to change without notice, and should not be construed as a commitment by Ableton. -
MIKROFON W Tanim Wydaniu
audioMAGAZYN O DOBRYM BRZMIENIU Nr 2 (23) kwiecień–czerwiecplay 2019 MATTHIAS CARSTENS O różnicach w sprzęcie dla profesjonalistów JACEK i audiofilów BRYNDAL O drodze od basówki customowej do akustycznej meksykańskiej (z objazdem przez gitarę) Akai Force Syjamski brat Abletona Live PreSonus Karty serii Studio ze złączem USB-C Laney MIKROFON Trzy kostki efektowe w tanim wydaniu CO JEST GRANE 2 styczeń–luty 2019 styczeń–luty 2019 3 OD SŁOWA DO SŁOWA Drogi czytelniku jednej strony trochę nam się ten numer przesunął, bo Oprócz tego proponujemy sporo nowości. Ze sprzętu AudioPlay stał się kwartalnikiem. Z drugiej oddajemy studyjnego jest to choćby interfejs AXE I/O (str. 18), który Z w Wasze ręce pismo z większą liczbą stron i wydzieloną może także koloryzować brzmienie jak wzmacniacz. Niby częścią katalogową, w której zgromadziliśmy wszystkie gorące przeznaczony jest dla gitarzystów, ale inni instrumentaliści bieżące oferty. i wokaliści także mogą skorzystać. Warto też zwrócić uwagę na W tym numerze wzięliśmy na warsztat mikrofony najtań- przeznaczone do bębnów mikrofony sE Beat i sE Kick (str. 22). sze (str. 6), co wcale nie znaczy, że złe. Oczywiście podajemy Dla klawiszowców mamy Akai MPK 88 Road (str. 41) i najnow- ich ograniczenia, ale wskazujemy także liczne zalety poza tą sze dziecko Mooga, czyli Sirina (str. 46). Twórców live-actów najbardziej oczywistą – ceną. Ponieważ wiosna jest porą, kiedy powinien zainteresować Akai Force (str. 46). Gitarzystom wychodzimy filmować, przyjrzeliśmy się także mikrofonom, prezentujemy kompaktową kolumnę HeadRusha FRFR-108 które mogą przydać się w plenerze (str. 36). (str. 60), trzy świeże kostki Laneya (str. 62), nowe modele Na łamach mamy dwóch zacnych gości. -
MASOS for the MASSES PART THREE by Clark
MASOS FOR THE MASSES PART THREE By Clark Salisbury Welcome back for more MASOS mania! We're going to keyboard), it's pretty safe to assume that there is only one wrap up this series of articles with a look at combining MASOS trumpet sample on this keyboard half. functions to get some pretty nifty results, and take a quick look at a few MASOS applications. But first, a brief review. Next, turn off the Loop Switch [65]. As a matter of course, you should always turn off the loop switch before performing MASOS functions are performed directly on wavesample any MASOS functions. Otherwise you may have some rather data. These functions are generally not limited to operating unpredictable results, as pointed out in last month's article. If between page boundaries, so to implement them we must you are planning on re-looping the sound you can always take know precisely which area(s) of memory we are dealing with. readings of parameters [62], [63], and [64], the Loop Start, We use the Source Start and Source End parameters [85] -[88] Loop End and Loop End Fine Adjust parameters. For this to set the area of memory we wish to process, and the particular sample their, respective values are 2E, 2E, and FF Destination Start parameters [89] - [90] and Destination Bank (hex). Select Parameter [94] to set the area of memory where the results of our processing will end up. Next we need to check, which area of memory is being used for this sample. Hit Parameter [60] Wavesample Start. -
The Sampler a Historical, Musicological and Phenomenological Study
The sampler A historical, musicological and phenomenological study Bertrand MERLIER Département Musique & Musicologie - Université Lumière Lyon 2 Laboratoire Passages XX-XXI (EA 4160) 18, quai Claude Bernard - 69007 LYON – FRANCE [email protected] 1. A brief historical overview The sampler has been around for nearly 70 years; The sampler appeared in the middle of the Among the probable inventors one can find Harry twentieth century in various parts of the world, Chamberlin in 1946 in the U.S., closely followed under different names: Chamberlin in the USA by Pierre Schaeffer and Jacques Poullin who (1946), Phonogène in France (1951), Special developed several Phonogènes between 1951 and Purpose Tape Recorder in Canada (1955), 1958: these sound manipulation machines, based Mellotron in Great Britain (1963)... on the principle of a variable speed tape recorder, really seems like a sampler. The generic name "sampler" only appears in the 80s, probably because of the competition between Nowadays, it is now probably one of the most used dozens of models. Thus it enables musicians to get musical instruments: from serious electroacoustic it clear more easily. music to popular electronic music, through music for audiovisual products (from TV series to video Since 1946, it is possible to identify nearly 350 game sound design). Since Mac OSX Lion, Apple models of samplers, manufactured by nearly fifty has even incorporated a sampler (AUSampler) brands (see Appendix Table 1). within its operating system. Yet this instrument remains unknown, mysterious, 2. A brief technological inventory invisible in film credits, CD covers or concert Further study of these 350 models shows that they programs; There has been very little musicological can be classified into five families, according to nor organological musicological studies done. -
Univerzita Karlova V Praze Fakulta Humanitních Studií
Univerzita Karlova v Praze Fakulta humanitních studií Elektronická kultura a sémiotika Mediální a komunikační studia Sampling: Od regresie k transgresii posluchu Magisterská diplomová práca Autor: Lucia Udvardyová Vedúci práce: Mgr. Tomáš Dvořák, Phd. V Prahe 2006 ABSTRAKT: Táto diplomová práca sa zaoberá hudobným samplingom. Cieľom práce je ukázať, že sampling je typom aktívnej konzumpcie. Premisou teoretického rámca je polemika predstaviteľov Frankfurtskej školy – Theodora W. Adorna a Waltera Benjamina ohľadne produkcie a recepcie mediálnych zdelení. Adornove tvrdenie o implicitnej pasivite recipientov symbolických zdelení kontrastuje s teoretickými paradigmami francúzskeho neomarxizmu, sémiotiky a kulturálnych štúdií, ktoré zdôrazňujú aktivitu konzumentov symbolických zdelení. Ako ukázal historický exkurz v štvrtej – muzikologickej – časti diplomovej práce, v samplingu sa horeuvedené teórie akcentujúce aktivitu recipienta, materializovali. Prehlasujem, že som diplomovú prácu vypracovala samostatne s využitím uvedených prameňov a literatúry. Praha, 25. septembra 2006 ................................................ podpis 1. Úvod 1 2. Theodor W. Adorno, Walter Benjamin a ich reakcie na vstup nových medíí do modelu produkcie a recepcie 5 2. 1. Nové médiá: nástroje kultúrneho priemyslu 5 2. 2. Regresia posluchu 7 2. 3. Benjaminove pojatie recepcie masového (populárneho) umenia 12 2.4. Polemiky Adorna a Benjamina 14 3. Prehodnotenie konzumpcie vo francúzskom neomarxizme 60. rokov a britských kulturálnych štúdiách 18 3. 1. Frankfurtská škola vs. kulturálne štúdiá 19 3. 2. Michel de Certeau a každodenný život 20 3. 2. 1. Čtení jako pytlačení 22 3. 3. Julia Kristeva a intertextualita 24 3. 4. Roland Barthes a amplifikácia 26 3. 4. 1. Amplifikácia 28 3. 5. Umberto Eco a otvorené dielo 29 3. 5. 1. Otvorené dielo 30 3. 6. Stuart Hall a publikum 32 3. -
Disco Synthpop
DISCO, SYNTHPOP & DIGITAL SYNTHESIZERS 1 digital synthesizers continued pre-origins of electronic dance music and synth pop music as a cultural technology digital synths & samplers DIGITAL SYNTHESIZERS computer / keyboard (sensors) LCD interface (virtual displays) memory - presets, sampling digital synthesis vs digital sampling DIGITAL SYNTHESIS — ANALOG SYNTHESIS Sampling & Wavetable Subtractive synthesis Additive Synthesis FM Synthesis FM Synthesis abstract control manual control “precision” “character” FAIRLIGHT CMI (1979) • CMI = computer musical instrument • frst polyphonic digital sampling synthesizer ($20k) • 28MB of memory • Used by Afrika Bambaataa, Jean Michel Jarre, Kate Bush SYNCLAVIER I (1977 - 1978) • mostly used at universities. • developed by New England Digital, with professor Jon Appleton of Dartmouth College SYNCLAVIER II (1980 - 1982) • 16-bit hard drive recording device. $200,000 - $500,000 • Micheal Jackson [Thriller], The Cure, New Order, Stevie Wonder, Paul Simon, Pink Floyd, Kraftwerk, Depeche Mode, Genesis, Frank Zappa, many flm studios. Affordability 1979 Fairlight CMI ($20K) 1980 Synclavier II ($200K) 1981 Emulator ($8k) 1985 Ensoniq Mirage. ($2k), 8-bit 1986 Akai S900: higher quality, programmable, portable. 12-bit, 8 voices. ($800) 1988 Akai MPC-60: drum sampler. 12-bit, 99 track ($600) Yamaha DX7 DX7 FM Synthesizer based on the research of John Chowning frst commercially successful digital synthesizer MIDI (Musical Instrument Digital Interface) DISCO term derived from “discotheque” French for “library of -
Digital Musique Concrète 2 of 2
Digital Musique Concrète 2 of 2 Examples of Concrète in pop and underground music as influenced by new technologies II Computers - consequences (REVIEW) A Tape techniques enhanced 1 cut/splice - durations determined by sample rate and other factors (may need to explain sample rate) 2 speed - can slow down or speed up a sound recording without affecting pitch 3 pitch - can raise or lower pitch without affecting speed 4 direction - can play forward and backward (no change) 5 timbre - complex computer analysis can "morph" one timbre to another based on time-varying spectral character (may need to explain this briefly) in addition to changing amplitude envelop (may need to explain this and relate to chopping off attack) B Computer techniques 1 same ability to filter, reverb, etc., but more complex and controllable - no longer using single circuits or physical devices, but digital signal processing. more precise and flexible 2 analysis/synthesis routines allowed for manipulations of sound characteristics that weren't available with just the recorded sound 3 computer allowed for more control over multi-channel environments - octophonic (define) setups very common 4 able to take amplitude envelope of one sound and spectral characteristics of another - more on this in another lecture Excerpt from: http://en.wikipedia.org/wiki/Musique_concrète Excerpts New Technology - VAX 11/780 The 11/780 pictures is similar to the “CARL” computer at the Center for Music Experiment at UCSD. "VAX" was originally an acronym for Virtual Address eXtension, both because the VAX was seen as a 32-bit extension of the older 16-bit PDP-11 and because it was a commercial pioneer in using virtual memory to manage this larger address space.