Noise was used in the composition of the pieces, recorded from field recordings, performed by live instrumentalists or generated by synthesisers. The use of improvisation both in the composition and performance of the pieces was also investigated. Video has been used in various forms either as a stimulus to improvisation and composition, as an input for sound control, or more traditionally, as an accompaniment to a composition. Also included is preliminary research in the form of two smaller research projects. The pieces are presented as both fixed media and videos of performances. Within this portfolio are three pieces which explore the use of video, improvisation and noise in the performance and production of electronic music. In addition, the effects of the parameter variation for the design of sound variants are presented. In this thesis, sound design rules for imitation of various sounds using the computationally efficient synthesis techniques are presented. Therefore, the music synthesis system requires careful sound design. In many cases the sound synthesis system must be capable of producing music consisting of various different sounds ranging from real acoustic instruments to electronic instruments and sounds from nature. In addition, some commonly used sound effect algorithms are reviewed with respect to their applicability in computationally efficient music synthesis. They reduce aliasing more at high frequencies, but at low frequencies their performance is worse than with the first-order polynomial. The approach is also tested with two different third-order polynomials. Methods for existing bandlimited waveform synthesis are reviewed, and a new approach using polynomial bandlimited step function is presented in detail with design rules for the applicable polynomials. A major implementation problem is raised in digital source-filter synthesis, where the use of classic waveforms, such as sawtooth wave, as the source signal is challenging due to aliasing caused by waveform discontinuities. Next, the design of the structures of the applicable techniques are presented in detail, and properties and design issues of these structures are discussed. In practice, the applicable techniques are limited to additive and source-filter synthesis, and, in special cases, to frequency modulation, wavetable and sampling synthesis. First, different possible synthesis techniques are reviewed and their applicability in computationally efficient music synthesis is discussed. Client discovers after-the-fact that preformatted drive they bought is FAT32.In this thesis, the design of a music synthesizer for systems suffering from limitations in computing power and memory capacity is presented. Recipe for disaster? Client buys pre-formatted drive at Best Buy and transfers all their files over, to make space on their system. My Hard Drive closet alone, would be easily 7 or 8 months work for a diligent young lad, but at least there's minimal (if any) SD2 files to deal with.īut who's going to pay for it? So for now, it will fester. Go to all the record labels and film companies, and give them a quote on recovering, consolidating and transferring their audio masters into BWF files. I see a business opportunity there, though. At least a decade of film, TV, and music archives that are potentially un-recoverable. No kidding, eh? Just think of all those feature films in the vaults with Hard Drives or Magneto Optical disks meant for Akai DD8 dubbers in ProTools 5 / SoundDesigner2 format. It has been a time bomb since Apple started threatening to pull the plug on supporting resource forks in system 8. I've been telling people to avoid SD2 like the plague for over a decade. i'd like very much not to have to re-do an entire album!īob Olhsson wrote on Tue, 25 January 2011 13:26 I was asked for a tracks only version of one of the songs in this old session, and i've already re-recorded the tune while i'm trying to figure out this problem. what's the best way to verify that there is valid data beyond the header?ģ) does anyone know a tool that could do batch processing of a group of files that need the header repaired? (i fear i may have to write one). would sound hack choke on the new file?Ģ) should sound hack (or something else perhaps)? be able to play the file even without the header present? or at least show data? i.e. so i have a few questions:ġ) if i've chosen the wrong params for the new header info and saved it (for example, wrong bit depth). i change the header info back to what it should be, save, but there is no audio in the file. Sound Hack reports that they are headerless. on further inspection, i find that there are maybe a couple hundred sound files (SDII) that are corrupt. Went to open an old session from around 6 years ago (in Digital Performer) and the session wouldn't open.
0 Comments
Leave a Reply. |