Synthesis

I am teaching two courses this semester: Sound theory 1 (in English) Sound analysis (in Norwegian, together with Rolf Inge Godøy) In both courses I use Pure Data (PD) for demonstrating various interesting phenomena (additive synthesis, beating, critical bands, etc.), and the students also get various assignments to explore such things themselves. There are several PD introduction videos on YouTube in English, but I found that it could be useful to also have something in Norwegian. So far I have made three screencasts going through the basics of PD and sound synthesis: ...

I had a quick read of Jordi Janer’s dissertation today: Singing-Driven Interfaces for Sound Synthesizers. The dissertation presents a good overview of various types of voice analysis techniques, and suggestions for various ways of using the voice as a controller for synthesis. I am particularly interested in his suggestion of a GDIF namespace for structuring parameters for voice control: /gdif/instrumental/excitation/loudness x /gdif/instrumental/modulation/pitch x /gdif/instrumental/modulation/formants x1 x2 /gdif/instrumental/modulation/breathiness x /gdif/instrumental/selection/phoneticclass x Here he is using Cadoz’ division of various types of instrumental “gestures”: excitation, modulation and selection, something which would also make sense for describing other types of instrumental actions. ...

Here, I focus on how we can analyse, visualize and synthesize sound, or more specifically the timbre of instruments. Pitch and Timbre Perception Our perception of music is based on the grouping of frequencies in time and space. That is why a set of frequencies can be heard as a specific tone with an associated pitch, loudness and timbre. Such grouping is done by relating frequencies that have their origin close in spatial location, have similar onset time, and move in the same direction. The problem, however, is that there are no computational tools that can do this in an immediate and straight forward way like the human brain. ...

Explaining how one can synthesize a musical tone with Max/MSP.