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UC Riverside UC Riverside Electronic Theses and Dissertations
UC Riverside UC Riverside Electronic Theses and Dissertations Title Sonic Retro-Futures: Musical Nostalgia as Revolution in Post-1960s American Literature, Film and Technoculture Permalink https://escholarship.org/uc/item/65f2825x Author Young, Mark Thomas Publication Date 2015 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE Sonic Retro-Futures: Musical Nostalgia as Revolution in Post-1960s American Literature, Film and Technoculture A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English by Mark Thomas Young June 2015 Dissertation Committee: Dr. Sherryl Vint, Chairperson Dr. Steven Gould Axelrod Dr. Tom Lutz Copyright by Mark Thomas Young 2015 The Dissertation of Mark Thomas Young is approved: Committee Chairperson University of California, Riverside ACKNOWLEDGEMENTS As there are many midwives to an “individual” success, I’d like to thank the various mentors, colleagues, organizations, friends, and family members who have supported me through the stages of conception, drafting, revision, and completion of this project. Perhaps the most important influences on my early thinking about this topic came from Paweł Frelik and Larry McCaffery, with whom I shared a rousing desert hike in the foothills of Borrego Springs. After an evening of food, drink, and lively exchange, I had the long-overdue epiphany to channel my training in musical performance more directly into my academic pursuits. The early support, friendship, and collegiality of these two had a tremendously positive effect on the arc of my scholarship; knowing they believed in the project helped me pencil its first sketchy contours—and ultimately see it through to the end. -
Command-Line Sound Editing Wednesday, December 7, 2016
21m.380 Music and Technology Recording Techniques & Audio Production Workshop: Command-line sound editing Wednesday, December 7, 2016 1 Student presentation (pa1) • 2 Subject evaluation 3 Group picture 4 Why edit sound on the command line? Figure 1. Graphical representation of sound • We are used to editing sound graphically. • But for many operations, we do not actually need to see the waveform! 4.1 Potential applications • • • • • • • • • • • • • • • • 1 of 11 21m.380 · Workshop: Command-line sound editing · Wed, 12/7/2016 4.2 Advantages • No visual belief system (what you hear is what you hear) • Faster (no need to load guis or waveforms) • Efficient batch-processing (applying editing sequence to multiple files) • Self-documenting (simply save an editing sequence to a script) • Imaginative (might give you different ideas of what’s possible) • Way cooler (let’s face it) © 4.3 Software packages On Debian-based gnu/Linux systems (e.g., Ubuntu), install any of the below packages via apt, e.g., sudo apt-get install mplayer. Program .deb package Function mplayer mplayer Play any media file Table 1. Command-line programs for sndfile-info sndfile-programs playing, converting, and editing me- Metadata retrieval dia files sndfile-convert sndfile-programs Bit depth conversion sndfile-resample samplerate-programs Resampling lame lame Mp3 encoder flac flac Flac encoder oggenc vorbis-tools Ogg Vorbis encoder ffmpeg ffmpeg Media conversion tool mencoder mencoder Media conversion tool sox sox Sound editor ecasound ecasound Sound editor 4.4 Real-world -
Extended Techniques and Electronic Enhancements: a Study of Works by Ian Clarke Christopher Leigh Davis University of Southern Mississippi
The University of Southern Mississippi The Aquila Digital Community Dissertations Fall 12-1-2012 Extended Techniques and Electronic Enhancements: A Study of Works by Ian Clarke Christopher Leigh Davis University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Recommended Citation Davis, Christopher Leigh, "Extended Techniques and Electronic Enhancements: A Study of Works by Ian Clarke" (2012). Dissertations. 634. https://aquila.usm.edu/dissertations/634 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. The University of Southern Mississippi EXTENDED TECHNIQUES AND ELECTRONIC ENHANCEMENTS: A STUDY OF WORKS BY IAN CLARKE by Christopher Leigh Davis Abstract of a Dissertation Submitted to the Graduate School of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts December 2012 ABSTRACT EXTENDED TECHNIQUES AND ELECTRONIC ENHANCEMENTS: A STUDY OF WORKS BY IAN CLARKE by Christopher Leigh Davis December 2012 British flutist Ian Clarke is a leading performer and composer in the flute world. His works have been performed internationally and have been used in competitions given by the National Flute Association and the British Flute Society. Clarke’s compositions are also referenced in the Peters Edition of the Edexcel GCSE (General Certificate of Secondary Education) Anthology of Music as examples of extended techniques. The significance of Clarke’s works lies in his unique compositional style. His music features sounds and styles that one would not expect to hear from a flute and have elements that appeal to performers and broader audiences alike. -
OCEANS 12 Multifunction Dual Stereo Reverb
OCEANS 12 Multifunction Dual Stereo Reverb Congratulations on your purchase of the Oceans 12, our dual stereo reverb tour- de-force. Dive into uncharted sonic depths with its myriad features: two simultaneous, independent, stereo reverb engines, series and parallel control for the dual reverbs, 24 presets, external expression and footswitch input, and more. Plus, with an array of new controls like Tide for stereo image alteration, Lo-fi for diffusion reduction, infinite attenuation, send level for FX LOOPs, and split reverbs, your customization options are nearly limitless. The Oceans 12 is the reverb pedal to end all reverbs! WARNING: Your Oceans 12 comes equipped with an Electro-Harmonix 9.6DC-200BI power supply. The Oceans 12 requires 150mA at 9VDC with a center negative plug. Use of the wrong adapter or a plug with the wrong polarity may damage your Oceans 12 and void the warranty. Do not exceed 10.5VDC on the power plug. Power supplies rated for less than 150mA will cause the Oceans 12 to act unreliably. - FEATURES - • Two simultaneous, independent, stereo reverb engines • Series or parallel dual reverb configurations • 12 Reverb Types per engine yield a multitude of reverb effects • Multiple modes available for each Reverb Type, including new modes exclusive to the Oceans 12 • Easy pushbutton access to extra features like reverb tails, momentary effect mode, and alternate knob functions • 24 presets may be saved and recalled: one preset for each Reverb Type of each reverb engine • Two-in-one expression/external-footswitch jack: -
Short-Time Time-Reversal on Audio Signals
Proc. of the 17th Int. Conference on Digital Audio Effects (DAFx-14), Erlangen, Germany, September 1-5, 2014 SHORT-TIME TIME-REVERSAL ON AUDIO SIGNALS Hyung-Suk Kim Julius O. Smith CCRMA, CCRMA, Stanford University Stanford University Stanford, CA, USA Stanford, CA, USA [email protected] [email protected] ABSTRACT 2. FOURIER ANALYSIS In this section, we define STTR and perform a Fourier transform We present an analysis of short-time time-reversal on audio sig- to study its effects in the frequency domain. nals. Based on our analysis, we define parameters that can be used to control the digital effect and explain the effect each parameter has on the output. We further study the case of 50% overlap-add, 2.1. Short-Time Time-Reversal then use this for a real-time implementation. Depending on the x(t) w(t) window length, the effect can modify the output sound variously, Let be the input signal and be the window function of L R from adding overtones to adding reverse echoes. We suggest ex- length with constant overlap-add for step size : (Equation 2.1) ample use cases and digital effects setups for usage in sound design 1 X and recording. w(t − mR) = 1 (2.1) m=−∞ The STTR signal y(t) is formed by the following steps. 1. INTRODUCTION Step 1. Window the input signal x(t) with w(t − mR). Overlap-add (OLA) methods are widely used in digital audio ef- Step 2. Reverse the signal under the window: fects. Examples include time stretching, pitch shifting, phase vocoder, and more complex effects based on the short-time Fourier trans- (a) Move the windowed signal to the origin. -
Frank Zappa, Captain Beefheart and the Secret History of Maximalism
Frank Zappa, Captain Beefheart and the Secret History of Maximalism Michel Delville is a writer and musician living in Liège, Belgium. He is the author of several books including J.G. Ballard and The American Prose Poem, which won the 1998 SAMLA Studies Book Award. He teaches English and American literatures, as well as comparative literatures, at the University of Liège, where he directs the Interdisciplinary Center for Applied Poetics. He has been playing and composing music since the mid-eighties. His most recently formed rock-jazz band, the Wrong Object, plays the music of Frank Zappa and a few tunes of their own (http://www.wrongobject.be.tf). Andrew Norris is a writer and musician resident in Brussels. He has worked with a number of groups as vocalist and guitarist and has a special weakness for the interface between avant garde poetry and the blues. He teaches English and translation studies in Brussels and is currently writing a book on post-epiphanic style in James Joyce. Frank Zappa, Captain Beefheart and the Secret History of Maximalism Michel Delville and Andrew Norris Cambridge published by salt publishing PO Box 937, Great Wilbraham PDO, Cambridge cb1 5jx United Kingdom All rights reserved © Michel Delville and Andrew Norris, 2005 The right of Michel Delville and Andrew Norris to be identified as the authors of this work has been asserted by them in accordance with Section 77 of the Copyright, Designs and Patents Act 1988. This book is in copyright. Subject to statutory exception and to provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Salt Publishing. -
TN Production Assistant – V1.0.2.X User Notes
TN Production Assistant – v1.0.2.x User Notes Introduction This software is designed to assist Talking Newspapers in the preparation of a ‘copy-ready’ image of a multi-track Talking Newspaper or Talking Magazine production from individual track recordings created during a preceding ‘studio session’ using a stand-alone digital recorder or other digital recording facility such as a PC with digital recording software. Prerequisites A PC running a Windows Operating System (XP or later). Sufficient hard drive capacity to accommodate the software, working and archive storage (recommended minimum of 1GB) Audio Editing Software (e.g. Adobe Audition, Goldwave or Audacity) installed ‘Microsoft .NET 4 Environment’ installed (this will be automatically installed during the installation procedure below providing an internet connection exists) Installing the software The application is installed from the Downloads Section of the Hamilton Sound website at http://hamiltonsound.co.uk . Please follow the instructions displayed on the website and as presented by the installer. In case of difficulty please contact Hamilton Sound at [email protected] for assistance and advice. Please also report any bugs detected in use or suggested improvements to the above email address. On first installation a welcome screen will be presented followed by the set-up screen. Check and adjust if required the set-up parameters from their pre-set values (see Set-Up below). Configuration Before first using this software it is important to ensure that the configuration parameters are set appropriately for your purposes. The default values of each parameter are shown in parenthesis. TIP – Hold mouse cursor over any field for tips on what to enter there. -
Download PDF of This Issue
S e p t W c t ^ '' - 1981 — S 2 . 5 / J \ f l \ % ELECTRONICPOLUPHOIMU MUSIC & HOME RECORDING ISSN : 0161- 4M4. ; 1 lasr *SkSi? 5 'jh 'SS O'J Psycho-Acoutic Experiments / Super Controller for SyntAe THE ULTIMATE KEYBOARD The Prophet-10 is the most complete keyboard instrument available today. The Prophet is a true polyphonic programmable synthesizer with 10 complete voices and 2 manuals. Each 5 voice keyboard has its own programmer allowing two completely different sounds to be played simultaneously. All ten voices can also be played from one keyboard program. Each voice has 2 voltage controlled oscillators, a mixer, a four pole low pass filter, two ADSR envelope generators, a final VCA and independent modula tion capabilities. The Prophet-10’s total capabilities are too The Prophet-10 has an optional polyphonic numerous to mention here, but some of the sequencer that can be installed when the Prophet features include: is ordered, or at a later date in the field. It fits * Assignable voice modes (normal, single, completely within the main unit and operates on double, alternate) the lower manual. Various features of the * Stereo and mono balanced and unbalanced sequencer are: outputs * Simplicity; just play normally & record ex * Pitch bend and modulation wheels actly what you play. * Polyphonic modulation section * 2500 note capability, and 6 memory banks. * Voice defeat system * Built-in micro-cassette deck for both se * Two assignable & programmable control quence and program storage. voltage pedals which can act on each man * Extensive editing & overdubbing facilities. ual independently * Exact timing can be programmed, and an * Three-band programmable equalization external clock can be used. -
Stereo Memory Man with Hazarai Instructions
- QUICK START GUIDE - Basic Digital Delay/Echo Using TAP Tempo 1. Connect the output plug from the AC Adapter to the 9V jack at the top of the STEREO MEMORY MAN WITH HAZARAI Stereo Memory Man with Hazarai. Plug the AC Adapter into a wall outlet. 2. Plug your instrument into the MONO/Left Input Jack. 3. Plug your amp into the MONO/Left Output Jack. Congratulations on your purchase of the Electro-Harmonix Stereo Memory Man with 4. Press the BYPASS footswitch so the STATUS LED is on Hazarai. The Stereo Memory Man with Hazarai (SMMH) is a digital delay pedal with three 5. Turn the HAZARAI knob so that the top LED is lit: ECHO-3 SEC. different types of echoes and a full-fledged looper all of which work in true stereo. 6. Turn the following knobs to 50% or 12 o’clock: BLEND, FILTER and REPEATS. 7. Turn the DECAY knob fully counter-clockwise. Special Features of the Stereo Memory Man with Hazarai: 8. Tap in a delay time by pressing and releasing the TAP Footswitch at least two times. The time between the taps will be your delay time. • Up to 3 seconds of delay time. 9. To change delay time, either tap in a new time or turn the DELAY knob. • Up to 30 seconds of loop time. • Tap Tempo Footswitch allows you to set the delay time with your foot. Add Filtering To Your Basic Digital Delay/Echo • Multi-Tap delay allows you to set the exact number of echo repeats. • A full-featured looper gives you the ability to record a loop of exactly what you 10. -
Queens Park Music Club
Alan Currall BBobob CareyCarey Grieve Grieve Brian Beadie Brian Beadie Clemens Wilhelm CDavidleme Hoylens Wilhelm DDavidavid MichaelHoyle Clarke DGavinavid MaitlandMichael Clarke GDouglasavin M aMorlanditland DEilidhoug lShortas Morland Queens Park Music Club EGayleilidh MiekleShort GHrafnhildurHalldayle Miekle órsdóttir Volume 1 : Kling Klang Jack Wrigley ó ó April 2014 HrafnhildurHalld rsd ttir JJanieack WNicollrigley Jon Burgerman Janie Nicoll Martin Herbert JMauriceon Burg Dohertyerman MMelissaartin H Canbazerbert MMichelleaurice Hannah Doherty MNeileli Clementsssa Canbaz MPennyichel Arcadele Hannah NRobeil ChurmClements PRoben nKennedyy Arcade RobRose Chu Ruanerm RoseStewart Ruane Home RobTom MasonKennedy Vernon and Burns Tom Mason Victoria Morton Stuart Home Vernon and Burns Victoria Morton Martin Herbert The Mic and Me I started publishing criticism in 1996, but I only When you are, as Walter Becker once learned how to write in a way that felt and still sang, on the balls of your ass, you need something feels like my writing in about 2002. There were to lift you and hip hop, for me, was it, even very a lot of contributing factors to this—having been mainstream rap: the vaulting self-confidence, unexpectedly bounced out of a dotcom job that had seesawing beat and herculean handclaps of previously meant I didn’t have to rely on freelancing Eminem’s armour-plated Til I Collapse, for example. for income, leaving London for a slower pace of A song like that says I am going to destroy life on the coast, and reading nonfiction writers everybody else. That’s the braggadocio that hip who taught me about voice and how to arrange hop has always thrived on, but it is laughable for a facts—but one of the main triggers, weirdly enough, critic to want to feel like that: that’s not, officially, was hip hop. -
Understanding Audio Production Practices of People with Vision Impairments
Understanding Audio Production Practices of People with Vision Impairments Abir Saha Anne Marie Piper Northwestern University University of California, Irvine Evanston, IL, USA Irvine, CA, USA [email protected] [email protected] ABSTRACT of audio content creation, including music, podcasts, audio drama, The advent of digital audio workstations and other digital audio radio shows, sound art and so on. In modern times, audio content tools has brought a critical shift in the audio industry by empower- creation has increasingly become computer-supported – digital in- ing amateur and professional audio content creators with the nec- struments are used to replicate sounds of physical instruments (e.g., essary means to produce high quality audio content. Yet, we know guitars, drums, etc.) with high-fdelity. Likewise, editing, mixing, little about the accessibility of widely used audio production tools and mastering tasks are also mediated through the use of digital for people with vision impairments. Through interviews with 18 audio workstations (DAWs) and efects plugins (e.g., compression, audio professionals and hobbyists with vision impairments, we fnd equalization, and reverb). This computer-aided work practice is that accessible audio production involves: piecing together accessi- supported by a number of commercially developed DAWs, such 1 2 3 ble and efcient workfows through a combination of mainstream as Pro Tools , Logic Pro and REAPER . In addition to these com- and custom tools; achieving professional competency through a mercial eforts, academic researchers have also invested signifcant steep learning curve in which domain knowledge and accessibility attention towards developing new digital tools to support audio are inseparable; and facilitating learning and creating access by production tasks (e.g., automated editing and mixing) [29, 57, 61]. -
I/O of Sound with R
I/O of sound with R J´er^ome Sueur Mus´eum national d'Histoire naturelle CNRS UMR 7205 ISYEB, Paris, France July 14, 2021 This document shortly details how to import and export sound with Rusing the packages seewave, tuneR and audio1. Contents 1 In 2 1.1 Non specific classes...................................2 1.1.1 Vector......................................2 1.1.2 Matrix......................................2 1.2 Time series.......................................3 1.3 Specific sound classes..................................3 1.3.1 Wave class (package tuneR)..........................4 1.3.2 audioSample class (package audio)......................5 2 Out 5 2.1 .txt format.......................................5 2.2 .wav format.......................................6 2.3 .flac format.......................................6 3 Mono and stereo6 4 Play sound 7 4.1 Specific functions....................................7 4.1.1 Wave class...................................7 4.1.2 audioSample class...............................7 4.1.3 Other classes..................................7 4.2 System command....................................8 5 Summary 8 1The package sound is no more maintained. 1 Import and export of sound with R > options(warn=-1) 1 In The main functions of seewave (>1.5.0) can use different classes of objects to analyse sound: usual classes (numeric vector, numeric matrix), time series classes (ts, mts), sound-specific classes (Wave and audioSample). 1.1 Non specific classes 1.1.1 Vector Any muneric vector can be treated as a sound if a sampling frequency is provided in the f argument of seewave functions. For instance, a 440 Hz sine sound (A note) sampled at 8000 Hz during one second can be generated and plot following: > s1<-sin(2*pi*440*seq(0,1,length.out=8000)) > is.vector(s1) [1] TRUE > mode(s1) [1] "numeric" > library(seewave) > oscillo(s1,f=8000) 1.1.2 Matrix Any single column matrix can be read but the sampling frequency has to be specified in the seewave functions.