(Second Edition updated for MAX 7) This is the second in a series of three volumes dedicated to digital synthesis and sound design. Hundreds of sound examples and interactive examples, programs written in Max, as well as a library of Max objects created especially for this book. Structured for use in university courses.
(Seconda Edizione aggiornata a Max 6) Il primo testo su sintesi ed elaborazione del suono con MaxMSP. Piu di 500 pagine su sintesi, elaborazione del suono e programmazione MaxMSP, esempi interattivi, centinaia di esempi, supporti online, test, attivita di reverse engineering, di completamento, correzione e analisi di algoritmi, sostituzione di parti di algoritmi, ecc. E un sistema didattico organico in tre volumi e una parte online che sviluppa una concezione aperta e interattiva dell'insegnamento e dell'apprendimento della musica elettronica e del sound design.
(Seconda Edizione aggiornata a Max 7) Il secondo volume di un'opera fondamentale dedicata alla sintesi e alla elaborazione del suono con Max e MSP. Il presente volume E composto da piU di 650 pagine su sintesi, elaborazione del suono e programmazione Max, esempi sonori e interattivi, centinaia di patch, supporti online, test, attivitA di reverse engineering, ecc. Include inoltre un esteso capitolo su Max for Live, un'applicazione con cui E possibile creare plug-in per il software Ableton Live. E un sistema didattico organico in tre volumi e una parte online che sviluppa una concezione aperta e interattiva dell'insegnamento e dell'apprendimento della musica elettronica e del sound design.
Author: Riccardo Bianchini, Alessandro Cipriani
Max/MSP/Jitter for Music
Author: V. J. Manzo
Publisher: Oxford University Press
In Max/MSP/Jitter for Music, expert author and music technologist V. J. Manzo provides a user-friendly introduction to a powerful programming language that can be used to write custom software for musical interaction. Through clear, step-by-step instructions illustrated with numerous examples of working systems, the book equips readers with everything they need to know in order to design and complete meaningful music projects. The book also discusses ways to interact with software beyond the mouse and keyboard through use of camera tracking, pitch tracking, video game controllers, sensors, mobile devices, and more. The book does not require any prerequisite programming skills, but rather walks readers through a series of small projects through which they will immediately begin to develop software applications for practical musical projects. As the book progresses, and as the individual's knowledge of the language grows, the projects become more sophisticated. This new and expanded second edition brings the book fully up-to-date including additional applications in integrating Max with Ableton Live. It also includes a variety of additional projects as part of the final three project chapters. The book is of special value both to software programmers working in Max/MSP/Jitter and to music educators looking to supplement their lessons with interactive instructional tools, develop adaptive instruments to aid in student composition and performance activities, and create measurement tools with which to conduct music education research.
Author: Roey Izhaki
Publisher: Taylor & Francis
Mixing Audio: Concepts, Practices, and Tools, Third Edition is a vital read for anyone wanting to succeed in the field of mixing. This book covers the entire mixing process – from fundamental concepts to advanced techniques. Packed full of photos, graphs, diagrams, and audio samples, it teaches the importance of a mixing vision, how to craft and evaluate your mix, and then take it a step further. The book describes the theory, the tools used, and how these are put into practice while creating mixes. The companion website, featuring over 2,000 audio samples as well as Pro Tools/ Multitrack Audio Sessions, is a perfect complement to the third edition. The new edition includes: A new 'Mixing and The Brain' chapter that provides a cognitive/psychological overview of many aspects related to and affecting mixing engineers (and, to a narrow extent, listeners). Updated figures and text reflecting recent software updates and trends.
Author: Udo Zölzer
Publisher: John Wiley & Sons
The rapid development in various fields of Digital Audio Effects, or DAFX, has led to new algorithms and this second edition of the popular book, DAFX: Digital Audio Effects has been updated throughout to reflect progress in the field. It maintains a unique approach to DAFX with a lecture-style introduction into the basics of effect processing. Each effect description begins with the presentation of the physical and acoustical phenomena, an explanation of the signal processing techniques to achieve the effect, followed by a discussion of musical applications and the control of effect parameters. Topics covered include: filters and delays, modulators and demodulators, nonlinear processing, spatial effects, time-segment processing, time-frequency processing, source-filter processing, spectral processing, time and frequency warping musical signals. Updates to the second edition include: Three completely new chapters devoted to the major research areas of: Virtual Analog Effects, Automatic Mixing and Sound Source Separation, authored by leading researchers in the field . Improved presentation of the basic concepts and explanation of the related technology. Extended coverage of the MATLABTM scripts which demonstrate the implementation of the basic concepts into software programs. Companion website (www.dafx.de) which serves as the download source for MATLABTM scripts, will be updated to reflect the new material in the book. Discussing DAFX from both an introductory and advanced level, the book systematically introduces the reader to digital signal processing concepts, how they can be applied to sound and their use in musical effects. This makes the book suitable for a range of professionals including those working in audio engineering, as well as researchers and engineers involved in the area of digital signal processing along with students on multimedia related courses.
Ableton Live 9
Author: Keith Robinson
Publisher: CRC Press
Never has there been music production software that so closely emulates the human mind and the demand for delivering music through a computer than Live. With an imaginative design and a forward-thinking mission, Ableton continues their legacy with Live 9, a software package that drives music production to the cutting edge while squarely meeting the needs of the composer, producer, perform, songwriter, DJ, and beyond. With such a progressive approach to its development, some of you may feel a bit disoriented or even intimidated at first sight of Live’s unconventional design, especially those of you coming from a traditional Digital Audio Workstation (DAW) background. If you are new to DAWs, DJ style programs, or software music production in general, then you’ll soon be right at home with the "parallel concept" of Live’s Session and Arrangement Views. For the rest of you, you’ll have to rethink your approach to composing, arranging and producing music just a bit; but it will be a worthwhile adjustment. That is why this book has been written: to help reinvent the experienced software-based music producer and to unleash the new user. The goal here is to build and cultivate a strong understanding of Live 9’s concepts and to provide material that will engage all DAW users alike. With this goal in mind, at the end of each reading you should feel that your current skills and knowledge base have been elevated to the next level. For the current Ableton Love user – yes, you - there is plenty here to unlock! After all, there is still a little "new user" inside us all. Now it is time to learn how to Create, Produce and Perform with Live 9 – all you have to do is decide what your needs are, because it’s all here. First published in 2013. Routledge is an imprint of Taylor & Francis, an informa company.
Making Music with Soundsoffers a creative introduction to the art of making sound-based music. It introduces the elements of making compositions with sounds and facilitates creativity in school age children, with the activities primarily for 11-14 year old students. It can also be used by people of all ages becoming acquainted with this music for the first time. Sound-based music is defined as the art form in which the sound, rather than the musical note, is the basic unit and is closely related to electronic music and the sonic arts. The art of sound organisation can be found in a number of forms of music--in film, television, theatre, dance, and new media. Despite this, there are few materials available currently for young people to discover how to make sound-based music. This book offers a programme of development starting from aural awareness, through the discovery and organisation of potential sounds, to the means of generating and manipulating sounds to create sequences and entire works. The book’s holistic pedagogical approach to composition also involves aspects related to musical understanding and appreciation, reinforced by the author’s online pedagogical ElectroAcoustic Resource Site (EARS II).
Author: Karen Collins
Publisher: MIT Press
An examination of the many complex aspects of game audio, from the perspectives of both sound design and music composition.
Author: V. J. Manzo, Will Kuhn
Publisher: Oxford University Press, USA
Interactive Composition empowers readers with all of the practical skills and insights they need to compose and perform electronic popular music in a variety of popular styles. The book begins by introducing all of the tools involved in creating interactive compositions through the software Ableton Live and Max for Live. The following chapters then put the tools to use by both describing particular musical styles and also teaching readers how to compose and perform within these styles using the software. As readers progresses through the book, they will learn to use the software to facilitate their own unique compositional objectives. This book takes readers through all of the steps in designing interactive music compositions. It is geared toward both beginners as well as intermediate and advanced readers, and so readers with even little experience working with digital audio software will quickly learn how to design powerful systems that facilitate their unique compositional ideas. A particular feature of this book is that it discusses the historical context of several electronic music styles used by DJs, electronic musicians, and other artists, and then describes, using software, the technical process used in the composition and performance of these styles. Each chapter leads readers to create an original composition in a given style and also discusses the techniques that can be used to perform the piece in an idiomatic fashion.
Live Electronic Music
Author: Friedemann Sallis, Valentina Bertolani, Jan Burle, Laura Zattra
During the twentieth century, electronic technology enabled the explosive development of new tools for the production, performance, dissemination and conservation of music. The era of the mechanical reproduction of music has, rather ironically, opened up new perspectives, which have contributed to the revitalisation of the performer’s role and the concept of music as performance. This book examines questions related to music that cannot be set in conventional notation, reporting and reflecting on current research and creative practice primarily in live electronic music. It studies compositions for which the musical text is problematic, that is, non-existent, incomplete, insufficiently precise or transmitted in a nontraditional format. Thus, at the core of this project is an absence. The objects of study lack a reliably precise graphical representation of the work as the composer or the composer/performer conceived or imagined it. How do we compose, perform and study music that cannot be set in conventional notation? The authors of this book examine this problem from the complementary perspectives of the composer, the performer, the musical assistant, the audio engineer, the computer scientist and the musicologist.
Electronic music evokes new sensations, feelings, and thoughts in both composers and listeners. Opening the door to an unlimited universe of sound, it engages spatialization as an integral aspect of composition and focuses on sound transformation as a core structural strategy. In this new domain, pitch occurs as a flowing and ephemeral substance that can be bent, modulated, or dissolved into noise. Similarly, time occurs not merely as a fixed duration subdivided by ratios, but as a plastic medium that can be generated, modulated, reversed, warped, scrambled, and granulated. Envelope and waveform undulations on all time scales interweave to generate form. The power of algorithmic methods amplify the capabilities of music technology. Taken together, these constitute game-changing possibilities. This convergence of technical and aesthetic trends prompts the need for a new text focused on the opportunities of a sound oriented, multiscale approach to composition of electronic music. Sound oriented means a practice that takes place in the presence of sound. Multiscale means an approach that takes into account the perceptual and physical reality of multiple, interacting time scales-each of which can be composed. After more than a century of research and development, now is an appropriate moment to step back and reevaluate all that has changed under the ground of artistic practice. Composing Electronic Music outlines a new theory of composition based on the toolkit of electronic music techniques. The theory consists of a framework of concepts and a vocabulary of terms describing musical materials, their transformation, and their organization. Central to this discourse is the notion of narrative structure in composition-how sounds are born, interact, transform, and die. It presents a guidebook: a tour of facts, history, commentary, opinions, and pointers to interesting ideas and new possibilities to consider and explore.
Author: Larry Austin, Douglas Kahn, Nilendra Gurusinghe
Publisher: Univ of California Press
The journal Source: Music of the Avant-garde was and remains a seminal source for materials on the heyday of experimental music and arts. Conceived in 1966 and published to 1973, it included some of the most important composers and artists of the time: John Cage, Harry Partch, David Tudor, Morton Feldman, Robert Ashley, Pauline Oliveros, Dick Higgins, Nam June Paik, Steve Reich, and many others. A pathbreaking publication, Source documented crucial changes in performance practice and live electronics, computer music, notation and event scores, theater and installations, intermedia and technology, politics and the social roles of composers and performers, and innovations in the sound of music.