Derek Wang's Frameworks for Interactive Sound with Jeff Federson Blog

Score

using my bubbaboard with max/msp..
and the following graphical score

Sound Sketch 1

Sound Sketch 2

Sound Sketch 3

Sound Sketch 4

week 12 - Form

using nathan wolek's granular synthesis chord object..

Sound Sketch 1

Sound Sketch 2

Sound Sketch 3

Sound Sketch 4

Sound Sketch 5

Sound Sketch 6

Week 11 - Rhythm

using this sample from Rivers of Babylon by the Melodians

sample

and the granular synthesis 2.5 patch to change around the slow reggae beat..

sound sketch 1

sound sketch 2

sound sketch 3

sound sketch 4

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sound sketch 8

Week 10 Granular Synthesis

Granular Synthesis

using this c rayz walz sample again

1. stream of sampled grains patch played at source duration 300 around 2000 ms start position
Sound Sketch 1

2. stream of sampled grains patch played at source duration 300 around 2500 ms start position
Sound Sketch 2

3. short sounds patch b/n 20000,20500 100ms
Sound Sketch 3

4. short sounds patch b/n 20000,100000 100ms
Sound Sketch4

5. short sounds patch b/n 20000,100000 50ms
Sound Sketch 5

6. short sounds patch b/n 20000,600000 100ms
Sound Sketch 6

7. short sounds patch b/n 250, 1700, 100
Sound Sketch 7

8. using granular 2.5
play position 667 ms, playback speed 1, duration 100, base ptich control 1, pitch randomness .7, pitch quantize .25
Sound Sketch 8

Week 9 sound sketches

Fiiltering

using the vocoder example from last week's class on this:

c rayz walz sample

essentially gradually turning up the settings (train and scale factor on the multiplier) that input into the Fast fixed filter bank as the sample plays...

Sound Sketch 1

Sound Sketch 2

Sound Sketch 3

Sound Sketch 4

Sound sketch 5

Week 8 Sketches

using Litter Objects

1. Brownian noise (1/f^2) is fractal noise characterized by a falloff of 6 dB/octave.
Sound Sketch 1

2. Lp.shhh~ provides an alternative source of white noise, based on the Taus88 generator used by lp.shhh and the rest of the Litter Power package.
Sound Sketch 2

3. Lp.sss~ is based on the Voss/Martin iterative algorithm for producing a 1/f distribution. You may want to try lp.zzz~ from the Litter Power Pro package for an improved approach to pink noise.
Sound Sketch 3

4. Lp.trrr~ generates noise with a triangular distribution of values. This is typically used for dithering signals from a low-resolution source.
Sound Sketch 4

5. triangular and pseudo-pink
Sound Sketch 5

6. triangular, pseudo-pink and white
Sound Sketch 6

7. triangular, pseudo pink and brownian
Sound Sketch 7

8. triangular pseudo pink brownian and white
Sound Sketch 8

Week 7 Sound sketches

Sound Sketch 1

Sound Sketch 2

Sound Sketch 3

Sound Sketch 4

Sound Sketch 5

Sound Sketch 6

Week 6 Sound Sketches

RM/AM Sytnthesis - sample guitar with wah pedal track

two oscillators one at 200(RM) one at 197 (RM)

Class 5 Sound Sketches

first sketch is a 6 note scale covering an octave using the following ratios:

1
13:12
5:4
3:2
5:3
2:1

Class 4 Listening

Overtone singing:

taken from the FAQ of Friends of Tuva website:
http://www.fotuva.org/faq/part_1.html

Khoomei is easiest for men. I *have* heard a recording of a Mongolian Kazakh women singing khoomei, but it's simply not so easy or spectacular, because of the higher pitch of the female voice. (Sainkho Namchylak can sing khoomei too.)

1. Sing a steady note while saying "aah" (to start with). Pitch it in the middle of your range, where you can give it plenty of energy, i.e. - Sing it loudly.

2. Aim to make the sound as bright - not to say *brash* - as you can. The more energy there is in the harmonics, the louder and clearer they'll be when you start singing khoomei. Practise this for a while.

3. OK, with this as a basis for the sound generation, you've got to arrange your mouth to become a highly resonant acoustic filter. My style (self-taught, but verified for me by a professional Mongolian khoomei singer I had a lesson with in Ulaanbaatar) is as follows:

Divide the mouth into two similar-sized compartments by raising your tongue so that it meets the roof of your mouth, a bit like you're saying "L". Spread your tongue a bit so that it makes a seal all the way round. At this point, you won't be able to pass air through your mouth. Then (my technique), break the seal on the left (or right) side of the mouth, simply to provide a route for the air to get through.

Then (here's the most difficult bit to describe over the net - or even in person, for that matter!), push your lips forward a bit, and by carefully (and intuitively) adjusting the position of your lips, tongue, cheeks, jaw, etc, you can sing Mongolian khoomei!

Put it this way: the *aim* of the khoomei singer ("khoomigch") is to emphasize ONE of the harmonics which are already present in the sound generated by the throat. This is achieved because he is forming a resonant cavity, which (a) is tuned to the chosen harmonic (overtone), and (b) has a high resonance, or "Q" factor. By adjusting the geometry and tension of your mouth you can choose which harmonic you're emphasizing, and thus sing a tune.

Class 4 Sound Sketches - Additive Synthesiis

Class 3 Sound Sketches

Class 2 Notes

here is my