DOCSLIB.ORG

Sound Designer Tool Kit Volume 1

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Sound Designer Tool Kit Volume 1 Sound Designer: Toolkit: Volume 1 Disc Track Duration Description SDT-01 1 0:05 Stinger: Cell Door Slams Shut, Medium Impact. SDT-01 1 0:06 Stinger: Cell Door Slams Shut, Medium Impact. Stinger: Cell Door Slams Shut, Medium Impact. SDT-01 1 0:07 Chain Noise Added. SDT-01 1 0:05 Stinger: Cell Door Slams Shut, Medium Impact. SDT-01 2 0:05 Stinger: Cell Door Slams Shut, Big Impact. SDT-01 3 0:05 Stinger: Cell Door Pushes Open. SDT-01 4 0:07 Stinger: Distant Cell Door Slams Shut. SDT-01 4 0:07 Stinger: Distant Cell Door Slams Shut. SDT-01 4 0:07 Stinger: Distant Cell Door Slams Shut. SDT-01 5 0:06 Stinger: Metal Door Slam, With Light Debris. SDT-01 6 0:08 Stinger: Metal Door Slam, With Echoes. Stinger: Metal Door Slam, With Echoes. Low End SDT-01 6 0:10 Only. Stinger: Metal Door Slam, With Echoes. Low End SDT-01 6 0:09 Only. Stinger: Metal Door Slam, With Servo Motor SDT-01 7 0:25 Fadeout. SDT-01 8 0:07 Stinger: Koto Drum, With Long Echoes. SDT-01 9 0:05 Stinger: Spotlight Power On. SDT-01 10 0:07 Stinger: Auditorium Light Switch, With Long Reverb. Stinger: Auditorium Light Switch, With Long Reverb. SDT-01 10 0:07 Slowed Down. SDT-01 11 0:06 Stinger: Metal Drum. SDT-01 11 0:06 Stinger: Metal Drum. Synth Effect Added. SDT-01 11 0:05 Stinger: Metal Drum. Synth Effect Added. SDT-01 11 0:05 Stinger: Metal Drum. Synth Effect Added. SDT-01 12 0:06 Stinger: Metal Drum. SDT-01 12 0:06 Stinger: Metal Drum. SDT-01 12 0:06 Stinger: Metal Drum. SDT-01 12 0:06 Stinger: Metal Drum. SDT-01 12 0:06 Stinger: Metal Drum. SDT-01 13 0:06 Stinger: Metal Drum, With Reverse Cymbal In. SDT-01 13 0:06 Stinger: Metal Drum, With Reverse Cymbal In. SDT-01 13 0:05 Stinger: Metal Drum, With Reverse Cymbal In. SDT-01 14 0:05 Stinger: Distant Eerie Metal, With Low End. SDT-01 15 0:05 Stinger: Eerie Voice, With Metallic Second Hit. SDT-01 16 0:06 Stinger: Hard Drum, With High Pitched Horror Tail. Stinger: Hard Drum, With Longer High Pitched SDT-01 17 0:13 Horror Tail. SDT-01 18 0:13 Stinger: Shockwave Explosion, With Fireball. Stinger: Shockwave Explosion, With Tone Whoosh SDT-01 18 0:10 In. SDT-01 19 0:08 Stinger: Shockwave Explosion, With Flanged Fireball. SDT-01 20 0:05 Stinger: Short Poof Flash. SDT-01 21 0:05 Stinger: Electric Spark Buzz. SDT-01 22 0:05 Stinger: Metal Cymbal, With Echo Tail. Stinger: Metal Cymbal, With Echo Tail. Higher Pitch SDT-01 22 0:05 And Fast. Stinger: Metal Cymbal, With Echo Tail. Lower Pitch SDT-01 22 0:05 And Slowed. Stinger: Metal Cymbal, With Echo Tail. Weird Cutoff SDT-01 22 0:05 At End. SDT-01 23 0:05 Stinger: Big Whip, With Dark Reverb. SDT-01 24 0:03 Stinger: Big Whip. SDT-01 24 0:03 Stinger: Big Whip. Choral Tone Hit Added. SDT-01 25 0:03 Stinger: Camera Picture Shot. SDT-01 25 0:03 Stinger: Camera Picture Shot. SDT-01 25 0:03 Stinger: Camera Picture Shot. SDT-01 25 0:03 Stinger: Camera Picture Shot. SDT-01 25 0:03 Stinger: Camera Picture Shot. Stinger: Camera Picture Shot, With Electric Flash SDT-01 26 0:04 Tail. Stinger: Camera Picture Shot, With Electric Flash SDT-01 26 0:04 Tail. Stinger: Camera Picture Shot, With Electric Flash SDT-01 26 0:04 Tail. Stinger: Camera Picture Shot, With Electric Flash SDT-01 26 0:04 Tail. Stinger: Camera Picture Shot, With Electric Flash SDT-01 26 0:04 Tail. SDT-01 27 0:03 Stinger: Camera Picture Shot, With Whoosh. SDT-01 27 0:03 Stinger: Camera Picture Shot, With Whoosh. SDT-01 27 0:03 Stinger: Camera Picture Shot, With Whoosh. SDT-01 27 0:03 Stinger: Camera Picture Shot, With Whoosh. SDT-01 27 0:03 Stinger: Camera Picture Shot, With Whoosh. Stinger: Camera Picture Shot, With Whoosh And SDT-01 28 0:04 Electric Flash Tail. Stinger: Camera Picture Shot, With Whoosh And SDT-01 28 0:04 Electric Flash Tail. Stinger: Camera Picture Shot, With Whoosh And SDT-01 28 0:04 Electric Flash Tail. Stinger: Camera Picture Shot, With Whoosh And SDT-01 28 0:04 Electric Flash Tail. Stinger: Camera Picture Shot, With Whoosh And SDT-01 28 0:04 Electric Flash Tail. SDT-01 29 0:03 Stinger: Parachute Opening, With Echoes. SDT-01 29 0:03 Stinger: Parachute Opening, With Echoes. SDT-01 29 0:03 Stinger: Parachute Opening, With Echoes. SDT-01 29 0:03 Stinger: Parachute Opening, With Echoes. SDT-01 30 0:05 Stinger: Parachute Opening, With Reverb. SDT-01 30 0:05 Stinger: Parachute Opening, With Reverb. SDT-01 30 0:05 Stinger: Parachute Opening, With Reverb. SDT-01 30 0:05 Stinger: Parachute Opening, With Reverb. Stinger: Flanged Parachute Opening, With Whoosh SDT-01 31 0:06 In. Stinger: Flanged Parachute Opening, With Whoosh SDT-01 31 0:06 In. SDT-01 32 0:05 Stinger: White Noise, With Low End. SDT-01 33 0:02 Stinger: Low End Ripple. SDT-01 33 0:03 Stinger: Low End Ripple. SDT-01 33 0:02 Stinger: Low End Ripple. SDT-01 34 0:05 Stinger: Metal, With Synth Thunder Whoosh. SDT-01 35 0:05 Stinger: Metal, With Synth Thunder Whoosh. SDT-01 36 0:03 Stinger: Weird Synth Whoosh. SDT-01 36 0:03 Stinger: Weird Synth Whoosh. SDT-01 36 0:02 Stinger: Weird Synth Whoosh. SDT-01 36 0:02 Stinger: Weird Synth Whoosh. SDT-01 37 0:06 Stinger: Quick Whoosh Punch. SDT-01 38 0:06 Stinger: Eerie Bell, With Descending Tail. SDT-01 38 0:06 Stinger: Eerie Bell, With Descending Tail. SDT-01 38 0:06 Stinger: Eerie Bell, With Descending Tail. SDT-01 39 0:07 Stinger: High Pitch Whoosh To Bell Hit, With Reverb. Stinger: High Pitch Whoosh To Bell Hit, With Reverb. SDT-01 39 0:08 Wind Added. SDT-01 39 0:10 Stinger: High Pitch Whoosh To Bell Hit, With Reverb. SDT-01 39 0:09 Stinger: High Pitch Whoosh To Bell Hit, With Reverb. SDT-01 39 0:07 Stinger: High Pitch Whoosh To Bell Hit, With Reverb. SDT-01 40 0:12 Stinger: Eerie Church Bell, With Echoes. SDT-01 41 0:06 Stinger: Dramatic Metal Scrape, With Synth Pad. SDT-01 41 0:08 Stinger: Dramatic Metal Scrape, With Synth Pad. SDT-01 41 0:08 Stinger: Dramatic Metal Scrape, With Synth Pad. SDT-01 41 0:07 Stinger: Dramatic Metal Scrape, With Synth Pad. SDT-01 41 0:09 Stinger: Dramatic Metal Scrape, With Synth Pad. SDT-01 42 0:09 Stinger: Dramatic Metal Scrape, With Synth Pad. SDT-01 42 0:09 Stinger: Dramatic Metal Scrape, With Synth Pad. SDT-01 42 0:09 Stinger: Dramatic Metal Scrape, With Synth Pad. SDT-01 43 0:05 Stinger: High-pitched Tone By, With Flange Whoosh. SDT-01 44 0:05 Stinger: Flange Whoosh. SDT-01 45 0:05 Stinger: Tonal, With Gunshot Tail. SDT-01 46 0:06 Stinger: Electric Storm. SDT-01 47 0:07 Stinger: Wispy Wind Whoosh Into Low End Hit. SDT-01 48 0:07 Stinger: Eerie Tonal Breath Whoosh. SDT-01 49 0:05 Stinger: Eerie Voice Choir. SDT-01 49 0:05 Stinger: Eerie Voice Choir. SDT-01 50 0:06 Stinger: Fast Train By, With Rail Clicks. SDT-01 50 0:05 Stinger: Fast Train By, With Rail Clicks. Longer Tail. SDT-01 51 0:05 Stinger: Train By With Rail Clicks. SDT-01 52 0:05 Stinger: Train Bell By. SDT-01 53 0:05 Stinger: Train Horn, With Reverb. SDT-01 54 0:06 Stinger: Searing White Noise, With Long Reverb. SDT-01 54 0:06 Stinger: Searing White Noise, With Long Reverb. SDT-01 54 0:06 Stinger: Searing White Noise, With Long Reverb. SDT-01 55 0:13 Stinger: Long Spark Whoosh. SDT-01 55 0:05 Stinger: Spark Whoosh, Without Lead In. SDT-01 56 0:05 Stinger: Low Double Whoosh. SDT-01 57 0:05 Stinger: Weird Wet Computer Beep. SDT-01 57 0:04 Stinger: Weird Wet Computer Beep. SDT-01 57 0:05 Stinger: Weird Wet Computer Beep. SDT-01 57 0:04 Stinger: Weird Wet Computer Beep. SDT-01 58 0:09 Stinger: Eerie Breath Whoosh, With Gunshot. SDT-01 58 0:10 Stinger: Eerie Breath Whoosh, With Gunshot. SDT-01 58 0:09 Stinger: Eerie Breath Whoosh, With Gunshot. SDT-01 59 0:04 Stinger: Eerie Breath Whoosh, With Ricochet. SDT-01 59 0:04 Stinger: Eerie Breath Whoosh, With Ricochet. SDT-01 59 0:04 Stinger: Eerie Breath Whoosh, With Ricochet. SDT-01 60 0:05 Stinger: Eerie Water, With Tunnel Reverb. Stinger: Eerie Water, With Tunnel Reverb. Synth SDT-01 60 0:05 Laser Added. SDT-01 60 0:06 Stinger: Eerie Water, With Tunnel Reverb. SDT-01 60 0:10 Stinger: Eerie Water, With Tunnel Reverb. SDT-01 60 0:07 Stinger: Eerie Water, With Tunnel Reverb. Double SDT-01 61 0:06 Stinger: Huge Door, With Growl. SDT-01 62 0:04 Stinger: Eerie Fast Big Flash. SDT-01 63 0:09 Stinger: Eerie Choir, With Laser Gunshot. SDT-01 64 0:05 Stinger: Eerie Synth Pad. SDT-01 65 0:05 Stinger: Low Wind Rip.
Load more

Recommended publications
  • Note About the Drumsets Almost All Drum Sets Use Layer 1 for the Bass Drums, Layer 2 for the Snares, Layer 3 for the Rest, Layer 4 for Only the Hi-Hats
    Intro The Techno Synth Construction Yard 32 MB ROM is a stunning collection of great new sounds designed for the dance, ambient and techno producer or artist. European sound designer Rob Papen has assembled over 600 of his best samples and coupled them with the Proteus 2000’s ultra-powerful synth engine to create a sound set like you’ve never heard before! Proteus’ 12 knob controllers let you tweak sounds to your heart’s content. Presets can morph into completely new sounds and textures at the touch of your fingers. Explore the presets by pressing the Audition button! The Techno Synth Construction Yard includes 136 spankin’ new RIFFs which you can use as backing tracks in your music. Note about the Drumsets Almost all drum sets use Layer 1 for the Bass Drums, Layer 2 for the Snares, Layer 3 for the rest, Layer 4 for only the hi-hats. This means also that the open hi-hat and closed hi-hat work together like real drums! This layering is also useful when using separate outputs or adding FX In the basic setting of the presets the knob control- lers for FX-A and B work only on Layer 2 (snares) and Layer 3 (rest of percussion and drums). Layer 1 and Layer 4 will stay dry for the FX-A knob (K). The non-GM sets have extra Bass and Snare Drums in each kit. Also Note: Many presets have a drum kit located at C-2 to A#1. 2 E-MU Systems TEKNO-Snyth 2 10/28/99, 4:36 PM Note about the MIDI G and MIDI H Controllers Almost all presets use clocked LFOs (MIDI G and MIDI H) to make the sound sync with your song.
    [Show full text]
  • Chorusing and Flanging Effects on The
    . The Independent News Magazine for Ensoniq Users Inthis issue Chorusing and Flanging Effects on the SQs - The Plot Thickens Articles: Clark Salisbury Chorusing and Flanging on the SQs Clark Salisbury cover give the impression that the original signal is echoing. This simple approach yields the DP/4 Specifications original signal and a single echo. If one Ensoniq " 9 wishes to create the sound of multiple (More) "Hidden Waves" on the VFX echoes, one need only route the delayed sig- Walter Cooper ". 14 nal back into the delay itself. This delayed signal is then again delayed, yielding a Sample Variations second echo, and since the output of the William PonJ ".. 15 delay is routed back to its own input, this Pickin' on EPS Bass Sounds second echo is again delayed, and so on. TomShear " 17 The process of routing a delayed signal Welcome to this month's installment of back into the delay is referred to as Reviews: "Programming The SQ When You Should "regeneration" or "feedback." Le Cover Dust Covers Be Looking For A Real Job." So far we've Steve VincenJ 4 talked about how to route voices to the ef- If this regenerated signal is routed back into fects busses and how to work with the the delay at full intensity, however, the Basement Tapes: G2 Daniel Mandel 6 reverb parameters to customize reverb ef- echoes will continue to multiply at full fects. This time out, let's move on to some volume until the sound finally becomes a I Jazz Through MIDI of the other on-board effects.
    [Show full text]
  • Hand Claps, Orchestra Hits, and the Production of Popular Music
    Cult Sound Studies: Hand Claps, Orchestra Hits, and the Production of Popular Music Paul Harkins is a lecturer in music at Edinburgh Napier University. His research is about the history and use of digital technologies in popular music and his book, Digital Sampling, is due to be published by Routledge. Other research interests include copyright, mash-ups, and the music industries. His academic writing has been published in Popular Music, Popular Music & Society, IASPM@Journal, Journal on the Art of Record Production, and Reseaux. [email protected] Brockhaus, Immanuel. Cult Sounds. http://www.cult-sounds.com Writing about popular music has often caused problems for scholars attempting to make sense of its sounds. Sociologists have been accused of failing to take them seriously by focusing on the contexts of production, distribution, and consumption and ignoring the ‘text’. Treating music as a text, though, has created its own issues as musicologists use the tools of musical analysis to look at lyrics and notes, things that are easy to write down or notate. Since the turn of the century, there have been a number of developments that have impacted on how scholars approach the sounds of popular music: the Art of Record Production (ARP) conference, which started in 2005, brought together those researching music within the academy, sound engineers starting PhDs, and record producers with books to promote. Moreover, the growth of Sound Studies as an interdisciplinary field has led to an increased focus on the production of sound itself, often outwith the contexts of music making and popular music.
    [Show full text]
  • KROSS Voice Name List
    Voice Name List 1 Table of Contents Programs . .3 27(INT): Percussion Kit. 49 Category: PIANO . .3 28(INT): Orchestra&Ethno Kit . 50 Category: E.PIANO . .4 29(INT): BD&SD Catalog 1. 52 Category: ORGAN . .5 30(INT): BD&SD Catalog 2. 53 Category: BELL. .6 31(INT): Cymbal Catalog . 54 Category: STRINGS . .7 32(INT): Rock Kit 1 Mono. 55 Category: BRASS . .8 33(INT): Jazz Kit Mono . 56 Category: SYNTH LEAD . .9 34(INT): Wild Kit . 57 Category: SYNTH PAD . 10 35(INT): Breakin' Kit. 58 Category: GUITAR . 11 36(INT): R'n'B Kit. 59 Category: BASS . 12 37(INT): Trapper Kit. 60 Category: DRUM/SFX. 13 38(INT): Bigroom Kit . 61 39(INT): Tropical Kit . 62 Combinations. 15 40(INT): JazzyHop Kit . 63 Category: PIANO . 15 41(INT): Japanese Catalog . 64 Category: E.PIANO . 15 Category: ORGAN . 15 GM Drum Kits . 65 Category: BELL. 16 58(GM): STANDARD . 65 Category: STRINGS . 16 59(GM): ROOM . 66 Category: BRASS . 16 60(GM): POWER . 67 Category: SYNTH LEAD . 17 61(GM): ELECTRONIC . 68 Category: SYNTH PAD . 17 62(GM): ANALOG. 69 Category: GUITAR . 18 63(GM): JAZZ . 70 Category: BASS . 18 64(GM): BRUSH. 71 Category: DRUM/SFX. 19 65(GM): ORCHESTRA . 72 66(GM): SFX. 73 Favorites . 20 FAVORITES- A . 20 Preset Arpeggio Patterns/User Arpeggio Patterns 74 FAVORITES- B . 20 FAVORITES- C . 20 Drum Track Patterns/Pattern Presets. 79 FAVORITES- D. 20 Template songs . 82 Drum Kits. 21 P00: Pop . 82 P01: Rock . 82 00(INT): Basic Kit 1. 21 P02: Jazz . 82 01(INT): Basic Kit 2.
    [Show full text]
  • Leseprobe (PDF)
    2017-06-19 15-53-01 --- Projekt: transcript.anzeigen / Dokument: FAX ID 012c464244629032|(S. 1- 2) VOR3891.p 464244629040 Aus: Immanuel Brockhaus Kultsounds Die prägendsten Klänge der Popmusik 1960-2014 August 2017, 450 Seiten, kart., 44,99 €, ISBN 978-3-8376-3891-2 Einzelsounds prägen die Geschichte der Popmusik. Der Clap Sound, der Synthesizer-Bass, der Klang eines DX 7 E-Pianos oder Auto-Tune sind genuine Popsounds und stehen in hohem Maße für die Identifizierung von Stilen. Immanuel Brockhaus analysiert erstmals umfassend prägende Einzelsounds in ihrem Ent- stehungs- und Entwicklungskontext und liefert damit Einblicke in Technologie, Anwen- dungspraxis und Ästhetik von Kultsounds sowie den damit verbundenen Netzwerken. Interviews mit Roger Linn, Boris Blank, And.Ypsilon und vielen anderen bekannten Akteu- ren ergänzen die Studie und verdeutlichen die Popularität und Komplexität von Sounds und Soundeffekten. Immanuel Brockhaus (Dr. phil.), geb. 1960, lehrt Popkultur mit Schwerpunkt Musiktech- nologie an der Hochschule der Künste Bern, Schweiz. Der Pianist und Komponist forscht im Bereich Sound Studies und Kulturwissenschaften. Weitere Informationen und Bestellung unter: www.transcript-verlag.de/978-3-8376-3891-2 © 2017 transcript Verlag, Bielefeld 2017-06-19 15-53-01 --- Projekt: transcript.anzeigen / Dokument: FAX ID 012c464244629032|(S. 1- 2) VOR3891.p 464244629040 Inhalt Abstract | 11 Danksagung | 13 Einleitung | 15 TEIL 1: TERMINOLOGIE DES SOUNDBEGRIFFES UND DIE KATEGORISIERUNG VON SOUND 1 Vom Klang zum Sound | 33 1.1 Vom Begriff
    [Show full text]
  • TRITON Extreme Voice Name List
    J E F G 1 Contents Combinations ........................... 3 Drum kits................................ 19 GM Drum kits ......................... 36 Bank A ...................................... 3 000: Standard Kit 1 ................. 19 144: STANDARD ..................... 36 Bank B ...................................... 3 001: Standard Kit 2 ................. 19 145: ROOM ............................. 36 Bank C ...................................... 3 002: Processed Kit ................. 19 146: POWER .......................... 36 Bank D ...................................... 4 003: Jazz/Brush Kit ................. 20 147: ELECTRONIC ................. 36 Bank H ...................................... 4 004: House Kit ........................ 20 148: ANALOG ......................... 36 Bank I ........................................ 5 005: Tricky Kit .......................... 20 149: JAZZ ............................... 37 Bank J ....................................... 5 006: Drum'n'Bass Kit .............. 21 150: BRUSH ........................... 37 Bank K ...................................... 5 007: Hip Hop Kit ..................... 21 151: ORCHESTRA ................. 37 Bank L ....................................... 6 008: Psycho Kit ....................... 21 152: SFX ................................. 37 Bank M ...................................... 6 009: Percussion Kit ................. 22 010: Orchestra&Ethnic ........... 22 Preset Arpeggio Patterns / Programs ................................. 7 011: Cymbals Catalog ...........
    [Show full text]
  • In Search of the Golden Age Hip-Hop Sound (1986–1996)
    In Search of the Golden Age Hip-Hop Sound (1986–1996) BEN DUINKER Department of Music Theory, Schulich School of Music, McGill University DENIS MARTIN Department of Sound Recording, Schulich School of Music, McGill University ABSTRACT: The notion of a musical repertoire’s “sound” is frequently evoked in journalism and scholarship, but what parameters comprise such a sound? This question is addressed through a statistically-driven corpus analysis of hip-hop music released during the genre’s Golden Age era. The first part of the paper presents a methodology for developing, transcribing, and analyzing a corpus of 100 hip-hop tracks released during the Golden Age. Eight categories of aurally salient musical and production parameters are analyzed: tempo, orchestration and texture, harmony, form, vocal and lyric profiles, global and local production effects, vocal doubling and backing, and loudness and compression. The second part of the paper organizes the analysis data into three trend categories: trends of change (parameters that change over time), trends of prevalence (parameters that remain generally constant across the corpus), and trends of similarity (parameters that are similar from song to song). These trends form a generalized model of the Golden Age hip-hop sound which considers both global (the whole corpus) and local (unique songs within the corpus) contexts. By operationalizing “sound” as the sum of musical and production parameters, aspects of popular music that are resistant to traditional music-analytical methods can be considered. Submitted 2016 September 16; accepted 2016 December 3. KEYWORDS: corpus study, sound, Golden Age hip-hop, music production, empirical musicology THIS paper explores the concept of describing a musical repertoire by its characteristic sound.
    [Show full text]
  • Adaptive Music in Video Games
    ADAPTIVE MUSIC IN VIDEO GAMES Adam Sporka DCGI, CTU Prague; Warhorse Studios; welove.audio @adam_sporka Seminář “Matematické problémy nematematiků” MFF UK, 24.10.2018 My Affiliations welove.audio (code) Czech Technical University (research) CTO, co-founder Department of Computer Graphics Middleware for adaptive music for and Interaction game developers Associate Professor Research in audio-based Warhorse Studios (code + music) human–computer interaction Adaptive Music Designer Author of part of the music The Wasteland Wailers (music) in Kingdom Come: Deliverance Co-founder, producer Euro-atlantic group of pop music Freelance Musician producers (code + music) We make swing and country songs Lightshows, video mappings, etc. Adam Sporka Jan Valta Photo by Pavel Dobrovský Get your copy via http://kcdsoundtrack.com Our Workflow design music dev/code 0. Our own middleware 5. Mastering – Adam Sporka + Jan Valta – Ondřej Urban 1. Genre decisions – Vojta Nedvěd – Dan Vávra + Jan Valta – Andrew Jaworski 2. Music behavior design 6. Playback metadata 3. Composition (+ arrangement) – Annotations – Jan Valta + Adam Sporka 7. Implementation 4. Production – “Probes” in game – Behavior script – Orchestral recordings sessions – Sample banks 8. In-game testing – Vocal recording sessions – Medieval recordings Fuzzy Terminology of Adaptive Music • What it does: • How it is done: – Adaptive music – Procedural music – Responsive music – Algorithmic music – Reactive music – Composed music – Interactive music Purpose of Sound in UI • Interaction modality (input and output) • Alerts • Widget sounds • Presentation of data • Mood setters • Sound branding Purpose of Music • Tradition • Declaration / Affirmation of genre – “Yes, this is an 8-bit retro” – “Ah yeah, 1870s, North America” – “Medieval Europe” Purpose of Music • Presentation of emotion – Valence of emotion (happy, joyful, depressing…) – Actor-based vs.
    [Show full text]
  • Digital Sampling, Intermediate Copying, Fair Use*
    Audio Pastiche: Digital Sampling, Intermediate Copying, Fair Use* Robert M. Szymanski** I. INTRODUCTION .......................... 273 II. WHAT IS DIGITAL SOUND SAMPLING? . 275 A. Sampling as a Technological Process.......... 275 B. The History of Sampling ................ 277 C. Recognizable and Transformed Samples in Contemporary Music ................... 278 D. Sampling as a Postmodern Art Form .......... 280 III. THE MUSIC INDUSTRY'S CURRENT APPROACH TO LICENSING SAMPLES ...................... 289 A. Licensing Musical Compositions.............. 292 B. Licensing Sound Recordings ................ 293 C. The Limitations of Enacting a Compulsory Licensing Scheme .................... 294 IV. FEDERAL COPYRIGHT LAW AND SAMPLING .......... 298 A Protection of Musical Compositions ........... 299 B. Protection of Sound Recordings ............. 303 C. Transformed Samples and the Problem of Intermediate Copying .................. 306 IV. FAIR USE DEFENSE ....................... 312 A. Substantially Similar Samples ............... 313 An earlier version of this Article was awarded First Prize at Harvard Law School in the 57th Annual Nathan Burkan Memorial Competition sponsored by the American Society of Composers, Authors and Publishers (ASCAP). The UCLA EntertainmentLaw Review would like to thank ASCAP for granting the rights to edit and publish this piece. Mr. Szymanski, who received his J.D. from Harvard Law School in 1995 and his B.A. from the University of California at Berkeley in 1991, is currently an associate with Weissmann, Wolff, Bergman, Coleman & Silverman in Beverly Hills, California. He would like to give special thanks to his parents and mentors for their encouragement. He would also like to thank the UCLA Entertainment Law Review Editorial Board for their work on this Article. 272 UCLA ENTERTAINMENT LAW REVIEW [Vol. 3:271 1. Purpose and Character of the Use .............313 2.
    [Show full text]
  • Famous Sounds
    14/04/2015 Famous Sounds Famous Sounds "Famous sounds" are sounds that have been created or used by somebody, liked and then copied by many others, and thus earned a "classic" status. I'd like to open this section of Synth Mania utilizing as a starting point portions of an article appeared in the October 1995 issue of Keyboard magazine, titled "20 Sounds That Must Die", in which the author David Battino analyzes many sounds that have, over the years, been used, re­ used and abused again. I added audio examples to the list for those who might not be familiar with those sounds. From there, I'll start adding my own examples of more sounds, including loops. When possible, audio examples are available. Keyboard magazine List: Audio SOUND NAME DESCRIPTION example 1. The square/triangle wave solo This flutey, highly synthetic lead sound sure stands out, but already belongs to someone. Still, add portamento and maybe you'll get Lucky Man lucky, man. (Note: the author is referring to the song "Lucky Man", by Emerson, Lake & Palmer. Emerson's Moog solo is regarded as the first rock synthesizer solo in history) 2. The sample­and­hold­to­pitch computer processing effect "Professor, why don't you ask the computer?" Bee­poo­bee­bee­boo­ Processing poo­bah­pah... has anyone ever really heard a computer make this noise? (Note: I used an Alesis airSynth for this sound.) 3. Rez zaps Feed white noise through a rapidly closing VCF with the resonance cranked. Kraftwerk did. And now most every techno band does.
    [Show full text]
  • Connecting the Perception of Emotion to Music Signals
    CONNECTING THE PERCEPTION OF EMOTION TO MUSIC SIGNALS by PAMELA A. WOOD M.S., Computer Science, University of Colorado Colorado Springs, May 2001 B.A., Mathematics, State University of New York at Buffalo, February 1980 A dissertation submitted to the Graduate Faculty of the University of Colorado Colorado Springs in partial fufillmnent of the requirements for the degree of Doctor of Philosophy Department of Computer Science School of Engineering and Applied Science May 2016 ii ➞ by Pamela A. Wood 2016 All Rights Reserved. As is a common practice in Computer Science, journal and conference articles are published based on the MS/Ph.D thesis work, which means that wording, tables, figures, and sentence structure are sometimes identical in the dissertation document, and journal and conference articles co-authored by the student and their advisor. The author acknowledges that the following articles: [91, 92] have been published based on this thesis. iii This dissertation for Doctor of Philosophy degree in Engineering - Concentration in Computer Science by Pamela A. Wood has been approved for the Department of Computer Science School of Engineering and Applied Science University of Colorado Colorado Springs Dr. Sudhanshu K. Semwal, Advisor Dr. Albert Glock Dr. Gregory L. Plett Dr. Jonathan Ventura Dr. Kristen Walcott-Justice Date IRB protocol #15-226 Wood, Pamela A. (Ph.D., Engineering) Connecting the Perception of Emotion to Music Signals Dissertation directed by Dr. Sudhanshu K. Semwal Determining the emotional impact of a particular musical excerpt can be challenging when dealing with human perceptions. It is not possible to ensure that each person will have a comparable experience.
    [Show full text]
  • Title Description Filename Keywords Media Code Time CD Track Index Kick It Exciting Funk MIX21 01 1.Wav FUNK, F. LAURAITIS
    Media Title Description FileName Keywords Time CD Track Index Code Funk FUNK, F. LAURAITIS / J. CLARKE (SOCAN), ANTHEM Mix III Kick It Exciting :09 MIX21 1 1 MIX21_01_1.wav MUSIC / CLIFFDWELLER MUSIC (SOCAN) Library Compelling World Funk FUNK, B. GAGNON / J. CLARKE (SOCAN), ANTHEM MUSIC Mix III Tribal :18 MIX21 1 2 Beat MIX21_01_2.wav / CLIFFDWELLER MUSIC (SOCAN) Library Funk FUNK, B. GAGNON / J. CLARKE (SOCAN), ANTHEM MUSIC Mix III Street Talk Bold, Up Beat :18 MIX21 2 1 MIX21_02_1.wav / CLIFFDWELLER MUSIC (SOCAN) Library Funk FUNK, B. GAGNON / J. CLARKE (SOCAN), ANTHEM MUSIC Mix III Solid Funk Strong Steady Funk :17 MIX21 2 2 MIX21_02_2.wav / CLIFFDWELLER MUSIC (SOCAN) Library Funk FUNK, B. GAGNON / J. CLARKE (SOCAN), ANTHEM MUSIC Mix III Fun Bop Energetic, Bright :29 MIX21 3 1 MIX21_03.wav / CLIFFDWELLER MUSIC (SOCAN) Library Grooving Strut, Full Funk FUNK, B. GAGNON / J. CLARKE (SOCAN), ANTHEM MUSIC Mix III Funk Walk :32 MIX21 4 1 Mix with Horns MIX21_04_1.wav / CLIFFDWELLER MUSIC (SOCAN) Library Grooving Strut, Alt. Funk FUNK, B. GAGNON / J. CLARKE (SOCAN), ANTHEM MUSIC Mix III Funk Walk :31 MIX21 4 2 Mix MIX21_04_2.wav / CLIFFDWELLER MUSIC (SOCAN) Library Powerful Rock Funk FUNK, B. GAGNON / J. CLARKE (SOCAN), ANTHEM MUSIC Mix III Aerobics :20 MIX21 5 1 Groove MIX21_05_1.wav / CLIFFDWELLER MUSIC (SOCAN) Library Funk FUNK, B. GAGNON / J. CLARKE (SOCAN), ANTHEM MUSIC Mix III Loco Propulsive Rhythm :33 MIX21 5 2 MIX21_05_2.wav / CLIFFDWELLER MUSIC (SOCAN) Library HipHop HIP HOP, F. LAURAITIS / J. CLARKE (SOCAN), ANTHEM Mix III Zoomin' Strong, Rhythmic :09 MIX21 6 1 MIX21_06_1.wav MUSIC / CLIFFDWELLER MUSIC (SOCAN) Library Attention Getting, HipHop HIP HOP, F.
    [Show full text]