Csound Tutorials

sr = 44100
ksmps = 10
nchnls = 2
0dbfs = 1

giSine ftgen 0, 0, 8192, 10, 2

instr 1

; setup:
iamp = p4 * 0.3
ifreq = cpspch(p5)
idetune = 0.7
index = 3

; envelopes:
kindexenv linseg index, 0.05, (index*05), (p3-0.05), 0
kampenv linseg 0, 0.01, iamp, (p3-0.01), 0

; tone generators:
aout foscil kampenv, ifreq-idetune, 1, 1, kindexenv, giSine
aout2 foscil kampenv, ifreq+idetune, 1, 1, kindexenv, giSine

; output:
outs aout, aout2
endin




; set tempo:
t 0 120

i1 00.00 0.5 0.7 9.04
i1 00.50 0.5 0.5 9.02
i1 01.00 0.5 0.6 9.04
i1 01.50 0.5 0.4 9.02
i1 02.00 1.0 0.7 9.04
i1 03.00 1.0 0.5 9.02
i1 04.00 0.3 0.7 9.00
i1 04.33 0.3 0.5 9.02
i1 04.67 0.3 0.4 8.11
i1 05.00 0.3 0.6 9.00
i1 05.33 0.3 0.5 9.02
i1 05.67 0.3 0.4 8.11
i1 06.00 1.0 0.5 9.00
i1 07.00 1.0 0.6 9.02
i1 08.00 0.7 0.6 9.04
i1 08.67 0.7 0.5 9.05
i1 09.33 0.7 0.3 9.03
i1 10.00 0.7 0.6 9.04
i1 10.67 0.7 0.5 9.05
i1 11.33 1.7 0.7 9.04

i1 00 2.0 0.3 7.00
i1 00 2.0 0.3 7.07
i1 02 2.0 0.3 7.05
i1 02 2.0 0.3 7.09
i1 04 2.0 0.3 7.04
i1 04 2.0 0.3 7.07
i1 06 2.0 0.3 7.05
i1 06 2.0 0.3 7.09
i1 08 2.0 0.3 7.02
i1 08 2.0 0.3 7.05
i1 08 2.0 0.3 7.09
i1 10 1.3 0.3 7.07
i1 10 1.3 0.3 7.11
i1 11.33 1.7 0.3 7.00
i1 11.33 1.7 0.3 7.07

Midterm Project

I am going to do some audio for my own-designed 3D environment. I may use tools and resources like Ableton, Cecilia, freesound, etc.

CSound Power Book

CLICK ME

thank you Alachua county library

Midterm Project

       I'm using Pd and some files I was given to work on a virtual sound console. It has a Delay and Reverb in it so I can load loops and one shots and throw them through those effects. It will also be able to use a Granular Synthesizer and another Synth to play with.

Midterm Proposal

For my midterm project I plan to remix a song called "All  The Small Things" by blink-182 using Ableton Live.  I plan to use a mixture of MIDI and audio tracks from the original song.  I will incorporate the use of various VSTs I have found over the semester and implement various techniques learned in class.

Midterm Project

For this Midterm Project, I will be remixing “God Given” by Nine Inch Nails. I plan on using primarily be using Ableton, Noatikl, Audacity, and freesound.org. There are many different midi sequences that I can arrange various sends and receives as well with numerous effects. I will also be slowing down the tempo to create an environment that is separate from the orginal.

I found the complete wav and ableton files at:
http://www.ninremixes.com/multitracks.php

Midterm Project

I plan on remixing the song “And then so clear” by Brian Eno. The track is down tempo and calming with heavy emphasis on pads and ambient sound. I will be chopping up the audio file and adding my own drums and several other sounds. I also plan on incorporate several sounds from MAX MSP that blends with the overall created sound. I am currently working on extracting which audio files I want from the original song in Ableton.

Midterm Proposition

For my midterm, I am going to add sound effects to a silent film entitled "The Mechanical Man." It is an Italian science fiction film made in 1921 about a robot that is being controlled by criminals and terrorizing people. I plan to use at least Ableton Live, Csound, freesound.org, Noatikl, and Audacity. Good luck on midterms and have a great spring break!

Project Overview

For my project I am designed music and sound effects for a video game using Max/MSP and Ableton.  The game is a very simple space shoot-em-up that seamlessly transitions between levels, so only one track will play during game time.  I might implement a way for players to choose what song they play allowing for more customization and more tracks.  The game's sound effects will include shooting weapons, explosions, and button clicks.

My Midterm Project- Videogame Sound

I will be working on the full range of sound for a game I'm making. This is a simple maze/obstacle avoidance game, so there won't be a lot of tracks used for it. It will mainly involve one or two background tracks, a success and failure notification sound, and some underlying tones that will add to the background music from player interaction. The last section of sounds I believe will come from player movement and proximity to the walls. I will be working with Cecilia and Ableton Live.

Midterm Project

For my project I am using Cecelia, Csound, and Audacity. 

I have teamed up with a group of modern dancers to create the audio for a performance. The dancers are still working on what they would like me to create. They last instructed they were thinking recreating the hassle and panic of planing a wedding.  

Until I have more direction from my team I have been working on a remix as practice. 

The Cut Up Technique

"The cut-up technique is an aleatory literary technique in which a text is cut up and rearranged to create a new text."

Watch David Bowie talk about his Cut-Up Technique:

Metropolis Redux (NIN Tracks + Csound)

For my audio project, I will be taking some of the iconic scenes from Fritz Lang's Metropolis and giving them a new soundtrack. The sound bed will be from the NIN sessions and I will be adding sound effects created in Csound. I may do some video editing as well to include modern images which relate to the movie, but I'd like to focus on the audio first.

Cut-up Technique & Created Beat

The cut-up technique emerged into popularity due to the works of the Dadaists and William S. Burroughs. Cut-up is achieved by taking a completed text and cutting it in pieces with a few or single words on each piece. The resulting pieces are then rearranged into a new text. Also, Fold-in is the technique of taking two sheets of text, folding each sheet in half vertically and combining with the other, then reading across the resulting page.  This phenomenon has further evolved by being involved in music and video incorporation. 

Here is the beat I created.

The Cut-Up Technique

The Cut-Up Technique is an aleatory literary technique based on taking a text, cutting it up, and rearranging it into a new text. The idea was popularized by William S. Burroughs in the late 50's and early 60's. Now the technique is widely used, and in a variety of contexts. One of these contexts is in creating loops and cutting pieces from tracks in sound design. This lead to the first tape loops, and first loops in sound design. It was used by David Bowie extensively in creating some of his lyrics. This technique itself also helped to influence Kurt Cobain's songwriting.

Cut-up Technique and Beats Tutorial

The Cut-up technique is an aleatory literary technique in which some text is cut up and rearranged to create new sentences. This technique can be traced back to the Dadaists of the 1920s, but became popular in the late 1950s by William S. Burroughs, who is a famous writer.

This technique has also been used by many musicians, including David Bowie, Kurt Cobain, and Thom Yorke, where they usually take single lines, form them into random sentences, and use those sentences as lyrics for their song.

Although I think that this technique can rob music of its personal message and creativity, I still find it to be an interesting technique to use in some occasions.

Here is a little beat that I created thanks to the beats tutorial. I wasn’t sure if I had to post it originally, so I’m doing it now just in case. Have a great spring break!

Generative Midi Data using Geosonix

2/20/14 In Class Remix and Beat Tutorial HW

Muse - Time is Running Out loops/remix:


Beat:

The Cut-Up Technique

Popularized and developed by the Dadaists and William S. Burroughs, the Cut-Up Technique initially involved slicing up text documents and then rearranging them, looking for new interesting patterns and literary phenomenons. This general idea, however, has evolved into music and video with remixes.

While the cut-up technique is interesting, I think that it takes more work than perhaps it initially seems. I have a colleague who used a computer to randomly sequence words from a returned war vet's interview and Homer's Odyssey. He held himself to a rule though, that the computer would randomly generate the lines, and he had to either accept or reject the line, he could not modify it.

That said, his version of the cut-up technique was actually highly structured, and wasn't just attempting to have some sort of esoteric intent. In fact, it involved the same literary techniques he would normally employ, but used the advantages of technology to provide his base "atoms" of content (or cut-up words, so to speak).

The Cut-Up Technique

Ableton Beats Tutorial

In Class Assignment & HW 2/25/14

In-class assignment  

Drums midi - https://soundcloud.com/alexisbenter/drumsmidi

Piano midi - https://soundcloud.com/alexisbenter/pianomidi

Piano and Drums midi remix - https://soundcloud.com/alexisbenter/remixmidi

Loop (Wouldn't It Be Nice - Beach Boys) - https://soundcloud.com/alexisbenter/loopingbeachboys

Piano and Drums and Loop Remix - https://soundcloud.com/alexisbenter/beat3

Homework

Beat looped - https://soundcloud.com/alexisbenter/beat

Assignments. both in class and out.

These are the two assignments that needed to be blogged about.

Tom Dowd, Homework, and Lynda.com

Tom Dowd

Adding to what Joseph wrote about Layla, here's an excerpt from Tom Dowd and the Language of Music:

Eric Clapton and Duane Allman are there, apparently thrilled to be in each other presence after Allman performed. Tom Dowd describes the creative process, "there were very few words exchanged; it was just complete musical dialogue."


Homework 

My loop from "Let It Go" combined with MIDI sequences.



Lynda.com

We all have access to lynda.com, where there are plenty of great Ableton Live Tutorials. The most relevant to this class are

3.4 Loading and playing clips

4.4 Managing files in Live

9.1 Understanding the mixer

Undergrad DAS Applications

Just so everyone knows, if you are applying to Undergrad DAS. The applications are due March 15th. (since we are already UF students) There is no formal application to file.

You just need to send Phillip your portfolio and statement of intent.

NEXT WEEK IS HARDWARE SYNTH WEEK!

but for now here is a web synth:

http://www.igorski.nl/experiment/websid

We are going to start to look at hardware synths of all kinds next week, Moog, Sequential Circuits, ARP, Oberheim, KORG just to name a few!

The Sequential Circuits Pro-one is what the interface for ABleton is styled after and we are going to have some hands-on with my synth during class time. Also if you have NOT met with me regarding your software investigation project time is running out. I NEED to know WHAT software you are going to be investigating, check off that yo uhave a text book and give you patches to explore and incorporate into your own projects

Patrick

In Class Remix: "Monster" by Skillet

Hello everyone! The song that I decided to remix was a song by skillet called "Monster." If you want to listen to the original song, go to the link below:

http://www.youtube.com/watch?v=aWERYqWs5xY

And here's my remix. I wanted to make it have a dark tone to it, and this is my result:

Have a great weekend!

In Clas 2-20-14

I'm sorry it's really not good  :/

Class Work Feb. 20th

https://soundcloud.com/tjnmusik/happy-remix

Today's Work

Loops

Avicii Hey Brother with Loops

Feb 20 Loops & Remix

Lucy& The Sky Of Diamonds + George Martin

GEORGE MARTIN: “English record producer, arranger, composer, conductor, audio engineer, and musician: aka the ‘Fifth Beatle’ cuz he’s famous band was the Beatles”

LUCY & THE SKY OF DIAMONDS:

The song starts with a melodic string syntheses and a solo vocal. It picks up around 30 seconds with a subtle drum beat and reverb on vocals.  At about the minute mark, the beat starts to pick up and the guitar is added with bass. It quickly drops back to a simple bass, vocal and the original melody, building up again to the two minute mark with the similar drum beat, bass guitar. Quickly dropping again, it picks back up to the chorus until the song ends strong. There is quite a bit of reverb and alteration on simple instruments but there is overall looping in heard in the background.

George Martin and the composition of "When I'm Sixty-Four"

George Martin is a composer, producer, musician, and audio engineer who has come to work on many great songs. Due to his extensive work on the early albums of the pop band The Beatles, he is sometimes referred to as "The Fifth Beatle". The albums he worked on extensively were Sgt. Pepper's Lonely Hearts Club Band, and Magical Mystery Tour. The sound of these albums are made through the combination of the band's vocal and musical talents, along with a solid backing track. George oversaw The Beatles' work and studio recordings while they began to produce more of their early original content.

The composition of When I'm Sixty-Four begins with a soft opening. The backing oboe, and other instruments give the track a sort of concert band feeling. As the vocals come into play, the backing track follows the changes in the vocalist's voice. Strings and piano add into the mix as the song continues with it's very happy and mellow tune. The beat of the song is a happy one, though it's not a dancing BPM. It's meant to be a little slower and evoke a more calm emotion. My thoughts are that evokes the idea of leisurely strolling in a park somewhere hand in hand with someone you care for, then maybe sitting down and having a picnic with them. Thus it ends with a low and held note, to not give an abrupt ending to the song.

All the work

For my de-construction of a song, I chose "When I'm Sixty-Four" from Sargent Pepper's Lonely Heart Club Band. 
It's a happy song, the begins with a full beat, a stringed instrument is used to complement the vocalist. The strings are sped up in according to suggest a change of tempo or situation within the lyrics. Later in the song bells join and duet with the drums. The vocals have a slight echo, only when other instruments pause.

The song was produced by Brian Martin, and sung/written by Paul McCartney.

My remedial work for only earning 70% on the quiz is a better explanation of Just Intonation. It is just as important to know when to use Just Intonation verses ET. This video does an excellent job of playing example of both, and training your ears to know why you use Just Intonation.


And these are my attempts to play with Noatikl and Ableton

Tom Dowd, Layla Deconstruction, Just Intonation Quiz Make-up

Tom Dowd was an American recording engineer best known for popularizing the multi-track recording method. Dowd had an early background in music as he played piano, tuba, violin, and string bass and his mother was an opera singer and his father was a concertmaster. While working at Atlantic Records, he recorded many prominent artists such as Ray Charles, The Drifters, The Coasters, Ruth Brown and Bobby Darin, including Darin's famous rendition of Kurt Weill/Bertolt Brecht's "Mack the Knife". He also recorded jazz masterpieces by John Coltrane, Ornette Coleman, Thelonious Monk and Charlie Parker.

Mastermind behind "Layla": Tom Dowd

The track begins with a heavy guitar play and the drums come in afterwards. 2nd guitar melody and the vocals sync are brought in, which gives it that Rock and roll feel. More instruments are added layering the melody and a high pitched guitar is brought in.

Half way through the song, the drums stop and the piano solo comes in. Then the guitar is added to the piano and the drum beat afterwards. The song ends with the guitar, piano, drums and several other instruments in the background and without the beginning vocals.


Quiz-Makeup: Just Intonation

Just Intonation is defined as any musical tuning in which the frequencies of notes are related to each other by ratios of small whole numbers. Any interval tuned this way is called a pure interval because the two notes in any just interval are part of the same harmonic series. In comparison to just intonation, our modern system of Western tuning consists of equal temperament. In equal temperament, all notes are defined as multiples of the same basic interval. Two notes separated by the same number of steps always have exactly the same frequency ratio.

Phil Spector

Harvey Philip Spector, December 26, 1940, The Bronx, New York, NY



Genres:

Rock and Roll, Girl group, Pop-rock, Pop

Phil Spector's contributions to music:

• Considered by many to be the greatest rock and roll producer of all time 
• In the early Sixties, created the famous "Wall of Sound" technique that inspired countless musicians and producers 
• Put girl group music on the map with hits by The Ronettes and The Crystals 
• Brought a dramatic, orchestral flair to teen pop that was unheard of at the time 
• Called on to salvage The Beatles' Let It Be album, he went on to produce John Lennon and George Harrison's most famous solo work 
• Created the persona of rock producer as auteur 

Success:

Spector couldn't keep his group, The Teddy Bears, together after that smash, and subsequent solo records failed. But by then Phil was already making a name for himself as the city's producer to beat, racking up hit after hit and eventually creating his famous "Wall of Sound" at L.A.'s Gold Star Studios by recording orchestras of guitars and bass, adding strings and brass, feeding it all through an echo chamber abetted by cinderblocks placed in strategic locations, and then recording that echo back onto tape. From 1961 to 1965, Phil Spector was arguably the most important producer rock had ever seen.

Other Phil Spector facts:

• The son of Russian Jewish immigrants, his family's original last name was Spekter 
• Took the phrase "To Know Him Is To Love Him" from his father's gravestone 
• "Teen Beat" drummer Sandy Nelson plays on "To Know Him" 
• Nearly died in a horrific car crash in March 1974 
• Famously dubbed "The First Tycoon of Teen" by author Tom Wolfe 
• Served as the inspiration for Ronnie "Z-Man" Barzell in the film "Beyond The Valley Of The Dolls" (1970) 
• Infamously barricaded wife (and Ronettes vocalist) Ronnie Spector in his L.A. "castle" in the '70s, refusing to let her out 
• Was scheduled to work with modern garage-rockers The Vines before his arrest 

Awards/Honors:

• Rock and Roll Hall of Fame (1991) 
• GRAMMY Award (1970) 
• GRAMMY Hall of Fame (1998, 1999, 2000) 

Top 10 hits:

Pop:
Ray Peterson, "Corinna, Corinna" (1961)
Curtis Lee, "Pretty Little Angel Eyes" (1961)
The Paris Sisters, "I Love How You Love Me" (1961)
Connie Francis, "Second Hand Love" (1962)
Bob B. Soxx and the Blue Jeans, "Zip-a-dee Doo-dah" (1963)
The Crystals, "Da Doo Ron Ron" (1963)
The Crystals, "Then He Kissed Me" (1963)
The Ronettes, "Be My Baby" (1963)
The Righteous Brothers, "Just Once In My Life" (1965)
The Righteous Brothers, "Unchained Melody" (1965)
The Righteous Brothers, "Ebb Tide" (1966)
John Lennon, "Instant Karma!" (1970)
George Harrison, "What Is Life" (1970)
John Lennon, "Imagine" (1971)

R&B:
The Crystals, "There’s No Other (Like My Baby)" (1962)
The Crystals, "He's A Rebel" (1962)
The Crystals, "Then He Kissed Me" (1963)
The Crystals, "Da Doo Ron Ron" (1963)
The Ronettes, "Be My Baby" (1963)
The Righteous Brothers, "Just Once In My Life" (1965)
The Righteous Brothers, "Unchained Melody" (1965)

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A Day in the Life (George Martin)

George Martin is an English producer and musician, who is often referred to as the "Fifth Beatle."  Martin's unique style of composition influenced the most popular band of the times and lead to two of James Bond's most well known themes (Goldfinger and Live and Let Die.)  As the producer for the entire Sgt. Pepper's Lonely Heart Club Band album by the Beatles, he crafted one of my favorite songs of the group's hits, "A Day in the Life."

"A Day in the Life" is a bit more intriguing than the typical melodic pop song we've come to known.  Although the song starts out fairly normal, consisting of the typical drums, bass, guitar, and vocals, the lyrics tell a narrative of a tragic accident from the start, all while being drenched in an angelic reverb effect.  Lennon's voice conveys a mystic elegance until fading out in vibrato to the turning point of the song.  At this point, Martin shifts from his pop song producing to genius composing that alters the tone of the song while seguing into an entirely different section.  The bridge is constructed of a dissonant orchestra crescendo that leads to a tempo change and bouncy piano rhythm accompanied by McCartney's vocals.  Lennon's reverberated vocals reappear after another orchestral bridge and the addition of more layers, mainly, the piano.  After Lennon's final verse concludes, the song fades out after a repeat of the atonal orchestral section crescendos to a peak.  The song accomplishes a catchy, yet provocative tone that has stood as a prime example of stellar producing and composition over time.

Tom Dowd and Song Deconstruction: "Good Vibrations"

Tom Dowd was an American recording engineer and producer for Atlantic Records. He is most well-known for revolutionizing the multi-track recording method, which is the recording of multiple sounds to create a new sound. He worked on a virtual “who’s who” of recordings that encompassed music records from a variety of different genres.

He worked as an engineer and producer for Atlantic Records from the 1940s until the beginning of the 21^st century. His first well-known hit was a song by Eileen Barton called “If I Knew You Were Comin’ I’d’ve Baked a Cake.” Shortly afterwards, he became a top recording engineer and recorded popular artists such as Ray Charles, The Drifters, The Coasters, Ruth Brown, Bobby Darin, and more.

The following song that I deconstructed was "Good Vibrations" by The Beach Boys:

1.) The song starts off with a duet between a stringed instrument and a male voice.

2.) They melody picks up as it is soon joined by more instruments, including some drums and a tambourine.

3.) As the melody continues, the chorus starts to sing in a low-pitched voice and says “I’m picking up good vibrations, she’s giving me excitations” a few times. The chorus is later joined by more male voices that sing, which is later joined by males singing in a higher pitch. As the chorus goes on, an echo effect is added.

4.) After the chorus, it is just the lone voice again with a few instruments.

5.) More instruments are added, and it goes back to the chorus (see number 3).

6.)Shortly after the second chorus, there are less instruments and the male singers hum. After a few seconds, they start to sing again.

7.) After some time later however, the tempo slows down a lot. The song now has a calming effect instead of an upbeat tone. The voices fade out and only instruments are playing. After a solo, the voices come back and start to sing in an upbeat tone again.

8.) The song then fades out with the singers humming and instruments playing in an upbeat tone.