The Principles of Audio Design
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Electro House 2015 Download Soundcloud
Electro house 2015 download soundcloud CLICK TO DOWNLOAD TZ Comment by Czerniak Maciek. Lala bon. TZ Comment by Czerniak Maciek. Yeaa sa pette. TZ. Users who like Kemal Coban Electro House Club Mix ; Users who reposted Kemal Coban Electro House Club Mix ; Playlists containing Kemal Coban Electro House Club Mix Electro House by EDM Joy. Part of @edmjoy. Worldwide. 5 Tracks. Followers. Stream Tracks and Playlists from Electro House @ EDM Joy on your desktop or mobile device. An icon used to represent a menu that can be toggled by interacting with this icon. Best EDM Remixes Of Popular Songs - New Electro & House Remix; New Electro & House Best Of EDM Mix; New Electro & House Music Dance Club Party Mix #5; New Dirty Party Electro House Bass Ibiza Dance Mix [ FREE DOWNLOAD -> Click "Buy" ] BASS BOOSTED CAR MUSIC MIX BEST EDM, BOUNCE, ELECTRO HOUSE. FREE tracks! PLEASE follow and i will continue to post songs:) ALL CREDIT GOES TO THE PRODUCERS OF THE SONG, THIS PAGE IS FOR PROMOTIONAL USE ONLY I WILL ONLY POST SONGS THAT ARE PUT UP FOR FREE. 11 Tracks. Followers. Stream Tracks and Playlists from Free Electro House on your desktop or mobile device. Listen to the best DJs and radio presenters in the world for free. Free Download Music & Free Electronic Dance Music Downloads and Free new EDM songs and tracks. Get free Electro, House, Trance, Dubstep, Mixtape downloads. Exclusive download New Electro & House Best of Party Mashup, Bootleg, Remix Dance Mix Click here to download New Electro & House Best of Party Mashup, Bootleg, Remix Dance Mix Maximise Network, Eric Clapman and GANGSTA-HOUSE on Soundcloud Follow +1 entry I've already followed Maximise Music, Repost Media, Maximise Network, Eric. -
Learning to Build Natural Audio Production Interfaces
arts Article Learning to Build Natural Audio Production Interfaces Bryan Pardo 1,*, Mark Cartwright 2 , Prem Seetharaman 1 and Bongjun Kim 1 1 Department of Computer Science, McCormick School of Engineering, Northwestern University, Evanston, IL 60208, USA 2 Department of Music and Performing Arts Professions, Steinhardt School of Culture, Education, and Human Development, New York University, New York, NY 10003, USA * Correspondence: [email protected] Received: 11 July 2019; Accepted: 20 August 2019; Published: 29 August 2019 Abstract: Improving audio production tools provides a great opportunity for meaningful enhancement of creative activities due to the disconnect between existing tools and the conceptual frameworks within which many people work. In our work, we focus on bridging the gap between the intentions of both amateur and professional musicians and the audio manipulation tools available through software. Rather than force nonintuitive interactions, or remove control altogether, we reframe the controls to work within the interaction paradigms identified by research done on how audio engineers and musicians communicate auditory concepts to each other: evaluative feedback, natural language, vocal imitation, and exploration. In this article, we provide an overview of our research on building audio production tools, such as mixers and equalizers, to support these kinds of interactions. We describe the learning algorithms, design approaches, and software that support these interaction paradigms in the context of music and audio production. We also discuss the strengths and weaknesses of the interaction approach we describe in comparison with existing control paradigms. Keywords: music; audio; creativity support; machine learning; human computer interaction 1. Introduction In recent years, the roles of producer, engineer, composer, and performer have merged for many forms of music (Moorefield 2010). -
Videogame Music: Chiptunes Byte Back?
Videogame Music: chiptunes byte back? Grethe Mitchell Andrew Clarke University of East London Unaffiliated Researcher and Institute of Education 78 West Kensington Court, University of East London, Docklands Campus Edith Villas, 4-6 University Way, London E16 2RD London W14 9AB [email protected] [email protected] ABSTRACT Musicians and sonic artists who use videogames as their This paper will explore the sonic subcultures of videogame medium or raw material have, however, received art and videogame-related fan art. It will look at the work of comparatively little interest. This mirrors the situation in art videogame musicians – not those producing the music for as a whole where sonic artists are similarly neglected and commercial games – but artists and hobbyists who produce the emphasis is likewise on the visual art/artists.1 music by hacking and reprogramming videogame hardware, or by sampling in-game sound effects and music for use in It was curious to us that most (if not all) of the writing their own compositions. It will discuss the motivations and about videogame art had ignored videogame music - methodologies behind some of this work. It will explore the especially given the overlap between the two communities tools that are used and the communities that have grown up of artists and the parallels between them. For example, two around these tools. It will also examine differences between of the major videogame artists – Tobias Bernstrup and Cory the videogame music community and those which exist Archangel – have both produced music in addition to their around other videogame-related practices such as modding gallery-oriented work, but this area of their activity has or machinima. -
Aaron Spectre «Lost Tracks» (Ad Noiseam, 2007) | Reviews На Arrhythmia Sound
2/22/2018 Aaron Spectre «Lost Tracks» (Ad Noiseam, 2007) | Reviews на Arrhythmia Sound Home Content Contacts About Subscribe Gallery Donate Search Interviews Reviews News Podcasts Reports Home » Reviews Aaron Spectre «Lost Tracks» (Ad Noiseam, 2007) Submitted by: Quarck | 19.04.2008 no comment | 198 views Aaron Spectre , also known for the project Drumcorps , reveals before us completely new side of his work. In protovoves frenzy breakgrindcore Specter produces a chic downtempo, idm album. Lost Tracks the result of six years of work, but despite this, the rumor is very fresh and original. The sound is minimalistic without excesses, but at the same time the melodies are very beautiful, the bit powerful and clear, pronounced. Just want to highlight the composition of Break Ya Neck (Remix) , a bit mystical and mysterious, a feeling, like wandering somewhere in the http://www.arrhythmiasound.com/en/review/aaron-spectre-lost-tracks-ad-noiseam-2007.html 1/3 2/22/2018 Aaron Spectre «Lost Tracks» (Ad Noiseam, 2007) | Reviews на Arrhythmia Sound dusk. There was a place and a vocal, in a track Degrees the gentle voice Kazumi (Pink Lilies) sounds. As a result, Lost Tracks can be safely put on a par with the works of such mastadonts as Lusine, Murcof, Hecq. Tags: downtempo, idm Subscribe Email TOP-2013 Submit TOP-2014 TOP-2015 Tags abstract acid ambient ambient-techno artcore best2012 best2013 best2014 best2015 best2016 best2017 breakcore breaks cyberpunk dark ambient downtempo dreampop drone drum&bass dub dubstep dubtechno electro electronic experimental female vocal future garage glitch hip hop idm indie indietronica industrial jazzy krautrock live modern classical noir oldschool post-rock shoegaze space techno tribal trip hop Latest The best in 2017 - albums, places 1-33 12/30/2017 The best in 2017 - albums, places 66-34 12/28/2017 The best in 2017. -
The Sound Design Guide
The Sound Design Guide a transparent resource for sound & fire information get your LEED on! Scan this code to access our LEED credit calculator and score points for your project! if your walls could talk they would ask for us Architects and specifi ers face many design challenges, knowing what your walls really want shouldn’t be one of them. Walls and ceilings are not something just to hold up paint, they play a critical role in your building design. As a manufacturer, we have taken great strides in simplifying this part of the building envelope by providing new comprehensive tools and rich online resources to you, the architect and specifi er. Our product specifi cations and sustainability tools, available at www.PABCOgypsum.com and ARCAT, have been paired with new continuing education courses that cover everything from sound and acoustic challenges to discussions related to new 2015 industry standards. Meet your design goals with ease. Be it our trusted FLAME CURB®, light-weight LITECORE®, protective PABCO GLASS® or our award winning QuietRock®; we have what the job demands. what the job demands PABCO® Gypsum technical services: 866.282.9298 www.PABCOgypsum.com QuietRock® acoustical products: 800.797.8159 www.QuietRock.com get your LEED on! Scan this code to access our LEED credit calculator and score points for your project! if your walls could talk they would ask for us Architects and specifi ers face many design challenges, knowing what your walls really want shouldn’t be one of them. Walls and ceilings are not something just to hold up paint, they play a critical role in your building design. -
ENT 4470 - Sound Design 2 Cl Hrs, 2 Lab Hrs, 3 Cr Pre Or Co-Requisite: ENT 2370
New York City College of Technology, CUNY Entertainment Technology Dept. 186 Jay Street, Room V-203 Brooklyn, NY 11201 (718) 260-5588 http://www.entertainmenttechnology.org/ ENT 4470 - Sound Design 2 cl hrs, 2 lab hrs, 3 cr Pre or Co-requisite: ENT 2370 Course Description: An investigation of the techniques and practices of sound design, emphasizing the use of modern computer-based recording and playback techniques. Sampling, hard-disk playback systems, sequencing, MIDI, systems integration, the use of surround systems, low- frequency elements and specials to achieve a variety of effects will be covered. Sound design practices will include script analysis, sound cue construction, integration with director and communication with other members of the design team. Additional areas of concentration will include development of cues based on functional, transitional, underscoring, surreal and hyper-real techniques; integration of musical and soundscape aesthetics; practice on Macintosh computer platforms using Digital Performer, Pro-Tools and a variety of plug-ins; programming of automation equipment and development of robust redundant systems capable of sustaining a high-use theatrical environment. Course Objectives: Students who successfully complete this course will be able to: • Analyze a proposed project (e.g. a play script) for its technical and storytelling needs. • Collaborate effectively as part of a production team. • Select and create the appropriate sound and music cues based on type and usage. • Determine the proper playback, reinforcement, and/or public address system strategy as applicable to specific projects. • Select and program the appropriate automation system for a specific project. • Design and implement the three systems—show, communications, and monitoring— necessary for all projects. -
La Realidad Aumentada. Música Y Comunicación En La Sociedad De Consumo
La realidad aumentada. Música y comunicación en la sociedad de consumo Antonio Francisco Alaminos Fernández Universidad de Alicante Facultad de Ciencias Económicas y Empresariales Doctorado en Empresa, Economía y Sociedad Comunicación, Comportamiento y Sociedad La realidad aumentada. Música y comunicación en la sociedad de consumo Director: Oscar Antonio Santacreu Fernández Presentada a Mención Doctor Internacional La presente Tesis Doctoral ha sido financiada por una ayuda predoctoral (FPUUA2015) concedida por el Vicerrectorado de Investigación y Transferencia del conocimiento de la Universidad de Alicante. A papá y a mamá, a Mita, a Miriam, a Amigos/as, y a la música Contenido 1. Introducción ......................................................................................................................... 9 PARTE I ..................................................................................................................................... 31 2. El sonido y la codificación musical ...................................................................................... 33 2.1. El sonido .......................................................................................................................... 34 2.1.1. Elementos del sonido ............................................................................................... 35 2.1.2. La imagen del sonido ............................................................................................... 42 2.2. La audición .................................................................................................................... -
Thehard DATA Spring 2015 A.D
Price: FREE! Also free from fakes, fl akes, and snakes. TheHARD DATA Spring 2015 A.D. Watch out EDM, L.A. HARDCORE is back! Track Reviews, Event Calendar, Knowledge Bombs, Bombast and More! Hardstyle, Breakcore, Shamancore, Speedcore, & other HARD EDM Info inside! http://theharddata.com EDITORIAL Contents Editorial...page 2 Welcome to the fi rst issue of Th e Hard Data! Why did we decided to print something Watch Out EDM, this day and age? Well… because it’s hard! You can hold it in your freaking hand for kick drum’s L.A. Hardcore is Back!... page 4 sake! Th ere’s just something about a ‘zine that I always liked, and always will. It captures a point DigiTrack Reviews... page 6 in time. Th is little ‘zine you hold in your hands is a map to our future, and one day will be a record Photo Credits... page 14 of our past. Also, it calls attention to an important question of our age: Should we adapt to tech- Event Calendar... page 15 nology or should technology adapt to us? Here, we’re using technology to achieve a fun little THD Distributors... page 15 ‘zine you can fold back the page, kick back and chill with. Th e Hard Data Volume 1, issue 1 For a myriad of reasons, periodicals about Publisher, Editor, Layout: Joel Bevacqua hardcore techno have been sporadic at best, a.ka. DJ Deadly Buda despite their success (go fi gure that!) Th is has led Copy Editing: Colby X. Newton to a real dearth of info for fans and the loss of a Writers: Joel Bevacqua, Colby X. -
Rave-Party.Pdf
Rave Party Marine Monbelli Violette Figueras Agathe Bouchet Alice Jourdàa 1 Sommaire I. Historique et Présentation 1. Contexte Politique 2. La notion de Rave II. Construction d’une idéologie sociale portée par le culte de la musique électronique 1. Une cohésion sans barrières sociales ni culturelles 2. Une recherche de stimulations sensorielles III. Limites et débordements 2 Nous avons décidé de vous présenter un dossier accès sur les rassemblements musicaux en lien avec des idéaux sociaux s’inscrivants dans un contexte politique et économique particulier. Nous porterons nos recherches principalement sur les Raves parties et les Free parties, manifestations alternatives révélatrices d’un besoin d’échapper aux contraintes de la vie en société. Adeptes de musiques électroniques, et de festivals de musiques, ce sujet nous intéresse car ces musiques auparavant marginalisées par la société sont aujourd’hui celles qui ambiancent nos soirées. En quoi ces manifestations sont-elles démonstratives d’un mal-être d’une certaine partie de la population et d’une volonté de s’émanciper et de se rassembler autour de valeurs et idéologies communes ? Nous allons tout d’abord présenter le contexte politique, économique et social dans lequel est né ce mouvement. Ensuite, nous nous intéresserons à la création d’une véritable idéologie liée à un certain mode de vie, enfin nous verrons en quoi les musiques électroniques (plus particulièrement acide house et techno) liées à une dimension spirituelle, notamment à travers la drogue engendrant différents débordements, et qui amène à une certaine répression du gouvernement. 3 Historique et présentation Contexte politique Les idées libertaires prônées par ces fêtes se sont bâties autour du mouvement punk anglais à la fin des années 70. -
A New Paradigm for Sound Design
Proc. of the 9th Int. Conference on Digital Audio Effects (DAFx-06), Montreal, Canada, September 18-20, 2006 A NEW PARADIGM FOR SOUND DESIGN Ananya Misra, Perry R. Cook†, Ge Wang Department of Computer Science (†also Music) Princeton University, Princeton, USA {amisra|prc|gewang}@cs.princeton.edu ABSTRACT separate a sound scene into the following components: (1) Deter- A sound scene can be defined as any “environmental” sound that ministic events: composed of highly sinusoidal components, of- has a consistent background texture, with one or more potentially ten perceived as pitched events, such as a bird’s chirp or a baby’s recurring foreground events. We describe a data-driven framework cry; (2) Transient events: brief non-sinusoidal events, such as foot- for analyzing, transforming, and synthesizing high-quality sound steps; (3) Stochastic background: the “din” or residue remaining scenes, with flexible control over the components of the synthe- after the removal of deterministic and transient components, such sized sound. Given one or more sound scenes, we provide well- as wind, ocean waves, or street noise. defined means to: (1) identify points of interest in the sound and TAPESTREA analyzes and synthesizes each component sepa- extract them into reusable templates, (2) transform sound compo- rately, using algorithms suitable to the component type. It applies nents independently of the background or other events, (3) contin- spectral modeling [1] to extract deterministic events, and time- ually re-synthesize the background texture in a perceptually con- domain analysis to detect transient events. Each event can then vincing manner, and (4) controllably place event templates over be transformed and synthesized individually. -
Quantifying Music Trends and Facts Using Editorial Metadata from the Discogs Database
QUANTIFYING MUSIC TRENDS AND FACTS USING EDITORIAL METADATA FROM THE DISCOGS DATABASE Dmitry Bogdanov, Xavier Serra Music Technology Group, Universitat Pompeu Fabra [email protected], [email protected] ABSTRACT Discogs metadata contains information about music re- leases (such as albums or EPs) including artists name, track While a vast amount of editorial metadata is being actively list including track durations, genre and style, format (e.g., gathered and used by music collectors and enthusiasts, it vinyl or CD), year and country of release. It also con- is often neglected by music information retrieval and mu- tains information about artist roles and relations as well sicology researchers. In this paper we propose to explore as recording companies and labels. The quality of the data Discogs, one of the largest databases of such data available in Discogs is considered to be high among music collec- in the public domain. Our main goal is to show how large- tors because of its strict guidelines, moderation system and scale analysis of its editorial metadata can raise questions a large community of involved enthusiasts. The database and serve as a tool for musicological research on a number contains contributions by more than 347,000 people. It of example studies. The metadata that we use describes contains 8.4 million releases by 5 million artists covering a music releases, such as albums or EPs. It includes infor- wide range of genres and styles (although the database was mation about artists, tracks and their durations, genre and initially focused on Electronic music). style, format (such as vinyl, CD, or digital files), year and Remarkably, it is the largest open database containing country of each release. -
Ambient Music Guide's Best Albums of 2015 Part 2 - Chillout Mix
Ambient Music Guide's Best Albums of 2015 Part 2 - Chillout Mix START TRACK TITLE ARTIST ALBUM/E.P. (click to buy the release online) (m/s) 00’00 Expansion Ascendant Ætheral Code (Synphaera Records) 07’52 Terra Firma Pan Electric & Ishq Elemental Journey (Pink Lizard Music) 13’53 Nature Boy Another Fine Day A Good Place to Be (Interchill Records) 18’36 Luftrum 8 Motionfield Luftrum (Carpe Sonum Records) 25’37 Are We Learning Yet? Shakta (Seb Taylor) Collected Downtempo vol. 2 (Tribal Shift Records) 29’30 Are You Connectome? The Dread Plastination of Otis T Fernbank (thedreadband.com) 34’19 Messianic Hibernation (Seb Taylor) Collected Downtempo vol. 3 (Tribal Shift Records) 38’53 You Are The Stars Kick Bong A Waking Dream (Cosmicleaf) 43’33 Point Of View Kurt Stenzel Jodorowsky's Dune soundtrack (Cinewax) 45’55 World 1 Si Matthews Tales of Ten Worlds (Carpe Sonum) 54’46 Sea Surfaces Martin Nonstatic Granite (Ultimae Records) 60’42 Unfamiliar Shadows Twilight Archive Mood Chain (Electrophonogram) 65’39 Nespole Floating Points Elaenia (Luaka Bop) 70’14 Strands Ascendant Various - Ambient Online vol. 4 (Ambientonline.org) 77’40 Gonglaing Ebauche Adrift (Invisible Agent Records) 85’32 Voila St Germain St Germain (Nonesuch/Parlophone) 91’31 The Beginning + Viola Abakus + St Germain The Beginning/Dreamer e.p. (Modus Recordings) 97’28 Last Train To Lhasa (ambient Banco de Gaia Last Train To Lhasa: 20th Anniversary Edition (Disco mix) Gecko) 101’52 Last Train To Lhasa Banco de Gaia Last Train To Lhasa: 20th Anniversary Edition (Disco (Astropilot remix) Gecko) 107’14 Dreamer Abakus The Beginning/Dreamer e.p.