Assignment 4: DJ Environment and Medley
Due February 17, 2010
General description:
In this assignment you will set up a DJing environment and use it to create a medley. You need to provide between two to four songs of your choice. These could be from a single or different composers. You will also create a backing beat track to help unify the songs.
Setting the environment:
Load each song on a separate track. Show the crossfade section by clicking the button with a cross on the right edge of the Live window. Assign each of the tracks to A or B crossfader. Rehearse switching between songs by triggering simultaneously clips of A and B tracks and crossfading on the master track.
Jump between different locations in the song by opening the clip view and placing the cursor at the playback part of the clip waveform (the part that shows the mouse cursor as a speaker icon). Experiment with setting a loop brace and shifting it in time by pressing the keyboard up and down keys.
After you determined the sections for mixing, make several copies of each song on following clip slots and select these sections in separate clips. It helps to identify them by names, such as verse, a brief chorus or some other music section of interest.
Beat Track:
Create an additional beat track either by using midi or using a recorded drum loop.
Copy it several times and create variations by using the methods shown in class, such as track automation of track activator (on and off), changing track volume, using transposition, beat repeat effect and clip follow functions in the launch section. The backing beat should be kept basic to help mixing and not compete with the music.
DJing:
Improvise with the set and practice transitions between the songs.
Record one such DJing session into arrangement view.
Optional: To add naturalness to the song consider altering the tempo in the arrangement view after you've done the recording. This is done by creating an automation on the master track tempo.
Final submission:
Export the final medley as audio and post it on soundcloud or send in the recording.
Provide a short document that describes:
1. The songs you used
2. The sections you selected
3. Describe the transitions / arrangement
4. Document the beat track, automation and effects you used to create beat variations. You may provide a separate recording of the beat track.
Thursday, February 10, 2011
Thursday, February 3, 2011
Back up assignments
Make sure to back up the assignments you put on Soundcloud. Since there's only so much room (2 hours of audio) on the website, I'm going to start deleting old and graded files.
Wednesday, January 26, 2011
Assignment #3
Assignment 3:
Due Thursday February 3, in the beginning of class.
The assignment consist of creating a small arrangement of guitar and percussion.
Your learning outcomes are:
1. Using MIDI files
2. Working with Impulse and designing your own drum set
3. Working with warping marks
Instructions:
Use drumloop, Guitar and House clips to create 3 tracks.
Assign Impulse instrument to the MIDI track.
Inside Impulse to assign the drum samples folder to slots in Impulse.
Audio FX: on Guitar add Compressor (ratio around 2.8, Threshold around -8)
Add EQ3 and Reverb. Play around with the settings to find a sound you like
Add FX to Drumloop. Find and document the effect settings.
On House add MIDI Simple delay. Try setting it on 3rd 16th note.
Play around with feedback and Dry/Wet
Consider adding Auto Filter and play around with the cut-off and filter's Q
Guitar track:
In case there are problems with initial warping you need to perform the following actions:
Remove leading or trailing silences by either clipping (use clip function from contextual menu) or by setting the Start Marker to the beginning of the song.
Locate the first clear downbeat. Make sure it falls on the beginning of the note.
In case there is a short segment of sound preceding the first transient market, such as a slow attack that we see in the guitar example, double click at the beginning of the note to create Warp Marker there. Right-clik the transient market to set the first bar 1.1.1 from context menu. Right click again and select "Warp from Here".
MIDI map:
Use MIDI mapping to trigger each track separately in the session view.
Use a MIDI slider or a MIDI dial to control continuously one of the two effects parameters of your choice on one of the devices.
Improvise by triggering the track and controlling the effects.
Record you result.
Render to audio and save.
Upload to the class Sound Cloud account (remember to mark your name).
Put a comment indicating the different sections in the final recording and special effects or points of interest.
Assignment 3 files available here:
http://www.music.mcgill.ca/~jacob/A3.zip
Due Thursday February 3, in the beginning of class.
The assignment consist of creating a small arrangement of guitar and percussion.
Your learning outcomes are:
1. Using MIDI files
2. Working with Impulse and designing your own drum set
3. Working with warping marks
Instructions:
Use drumloop, Guitar and House clips to create 3 tracks.
Assign Impulse instrument to the MIDI track.
Inside Impulse to assign the drum samples folder to slots in Impulse.
Audio FX: on Guitar add Compressor (ratio around 2.8, Threshold around -8)
Add EQ3 and Reverb. Play around with the settings to find a sound you like
Add FX to Drumloop. Find and document the effect settings.
On House add MIDI Simple delay. Try setting it on 3rd 16th note.
Play around with feedback and Dry/Wet
Consider adding Auto Filter and play around with the cut-off and filter's Q
Guitar track:
In case there are problems with initial warping you need to perform the following actions:
Remove leading or trailing silences by either clipping (use clip function from contextual menu) or by setting the Start Marker to the beginning of the song.
Locate the first clear downbeat. Make sure it falls on the beginning of the note.
In case there is a short segment of sound preceding the first transient market, such as a slow attack that we see in the guitar example, double click at the beginning of the note to create Warp Marker there. Right-clik the transient market to set the first bar 1.1.1 from context menu. Right click again and select "Warp from Here".
MIDI map:
Use MIDI mapping to trigger each track separately in the session view.
Use a MIDI slider or a MIDI dial to control continuously one of the two effects parameters of your choice on one of the devices.
Improvise by triggering the track and controlling the effects.
Record you result.
Render to audio and save.
Upload to the class Sound Cloud account (remember to mark your name).
Put a comment indicating the different sections in the final recording and special effects or points of interest.
Assignment 3 files available here:
http://www.music.mcgill.ca/~jacob/A3.zip
Granular Synthesis and Phase Vocoder Lecture Slides
The slides for the lecture on granular synthesis and the phase vocoder are available for download at:
http://www.music.mcgill.ca/~jacob/LectureNotes_1.pdf
http://www.music.mcgill.ca/~jacob/LectureNotes_1.pdf
Friday, January 21, 2011
Composition Project #1
Composition project 1: Electro-Acoustic Composition (EAC)
Compose a piece 3-5min long in one of so called "electro-acoustic" genres (concrete, acousmatique, ambient, film / radiophonic, noise music, ...).
http://www.ears.dmu.ac.uk/spip.php?rubrique3
The piece should be based mostly on non-insturmental recorded sounds (environmental, animate, man made and etc.). It can be blended and mixed with instrumental excerpts, but the structuring elements should not be based primarily on repeated loops or musical notions of rhythm, harmony and melody.
In terms of musical form, it should have a clear design, such as a cyclic structure, theme and variations, rondo, song and similar, or it could be more of a through-composed music, such as an arch form, process music or any other development following its own "internal logic".
The difference between this project an the previous soundscape compositions are:
1. heavier processing
2. multiple layers (mixing down of several tracks)
3. pre-compositional analysis and clear form or process design
In terms of techniques you need to use automation, effects and warping.
Stages of the project should include processing on clip, session track, and arrangement levels, as described below.
Submission instructions
The submission should include:
1. title and short textual description of the piece (concert notes)
2. list of sound sources (clips)
3. sound taxonomy: a table that groups sounds according to their sonic or compositional properties. It could be done as an excel sheet with each clip described in terms of sonic properties, and then grouping of sounds according to common properties or functions. (your own list)
4. outside of time organization: list of relations, links and possible transformations between groups of sounds or between individual sounds (session)
5. in time organization: a sketch, ideogram or graphic and textual description of how the sounds are organized in time. It should indicate at least 3-4 key points in the composition and specify their timing in the final audio rendering. (arrangement)
6. technical description that includes description of the software and list of techniques or special effect. (track = clip + effects + automation)
7. recording of the piece / audio rendering of the final composition.
Optional: specific excerpts, processes, sound examples, transitions, key points or interesting elements or processes can be provided. (final rendering)
The final piece should be also be uploaded to http://soundcloud.com/ucsd-mus-173 for peer comments. Instructions will be provided separately.
Due on Thursday, Feb. 10
Compose a piece 3-5min long in one of so called "electro-acoustic" genres (concrete, acousmatique, ambient, film / radiophonic, noise music, ...).
http://www.ears.dmu.ac.uk/spip.php?rubrique3
The piece should be based mostly on non-insturmental recorded sounds (environmental, animate, man made and etc.). It can be blended and mixed with instrumental excerpts, but the structuring elements should not be based primarily on repeated loops or musical notions of rhythm, harmony and melody.
In terms of musical form, it should have a clear design, such as a cyclic structure, theme and variations, rondo, song and similar, or it could be more of a through-composed music, such as an arch form, process music or any other development following its own "internal logic".
The difference between this project an the previous soundscape compositions are:
1. heavier processing
2. multiple layers (mixing down of several tracks)
3. pre-compositional analysis and clear form or process design
In terms of techniques you need to use automation, effects and warping.
Stages of the project should include processing on clip, session track, and arrangement levels, as described below.
Submission instructions
The submission should include:
1. title and short textual description of the piece (concert notes)
2. list of sound sources (clips)
3. sound taxonomy: a table that groups sounds according to their sonic or compositional properties. It could be done as an excel sheet with each clip described in terms of sonic properties, and then grouping of sounds according to common properties or functions. (your own list)
4. outside of time organization: list of relations, links and possible transformations between groups of sounds or between individual sounds (session)
5. in time organization: a sketch, ideogram or graphic and textual description of how the sounds are organized in time. It should indicate at least 3-4 key points in the composition and specify their timing in the final audio rendering. (arrangement)
6. technical description that includes description of the software and list of techniques or special effect. (track = clip + effects + automation)
7. recording of the piece / audio rendering of the final composition.
Optional: specific excerpts, processes, sound examples, transitions, key points or interesting elements or processes can be provided. (final rendering)
The final piece should be also be uploaded to http://soundcloud.com/ucsd-mus-173 for peer comments. Instructions will be provided separately.
Due on Thursday, Feb. 10
Tuesday, January 18, 2011
Materials from Tuesday 1/18/2011 Class
This is website that has the model for how we would like you to format the first part of Assignment #2:
http://www.sonicstrategies.com/sound_effects_from_household_app.htm
This is the website for HighC, the UPIC-style drawing music maker:
http://highc.org/index.html
This is the website for Spear, a Phase Vocoder editing software:
http://www.klingbeil.com/spear/
http://www.sonicstrategies.com/sound_effects_from_household_app.htm
This is the website for HighC, the UPIC-style drawing music maker:
http://highc.org/index.html
This is the website for Spear, a Phase Vocoder editing software:
http://www.klingbeil.com/spear/
Tuesday, January 11, 2011
Assignment #2
Music 173
Assignment 2
1. Record, rip or download 2 sounds from your soundwalk recording or sounds generated by a house appliance or other common everyday object.
Transform each sound at least 3 times to create a totally different foley sound (i.e. the sound effects used for a movie, TV program, radio, etc.).
The transformation that you apply should be one of the following:
- clip
- echo
- compress
- filtering
- modulator (phaser, etc.)
- pitch, speed and tempo changes
- reverse
Put the original sound and each of the transformations on a single track with 2 sec. silence between each. Document the original sounds and the transformations that you applied, including the program name and values of effect parameters or any other instructions of how you manipulated the sounds. Submit the sound file and a text that describes the effects. Give a name to the resulting sound.
2. Reading: two short Jonathan Harvey papers.
Questions:
Explain how the composer transformed the bell sound using the idea of a "pivot".
Describe how the composer blended the boy's voice with the bell sound?
Explain the concepts of paired, evolved and convolved sonorities and their use in composition.
Paper #1:
http://www.music.mcgill.ca/~jacob/harvey_mortuos_ps.pdf
Paper #2:
http://www.music.mcgill.ca/~jacob/Harvey.pdf
Recording of Jonathan Harvey's "Mortuos Plango, Vicos Voco" (Save m4a link to your hard drive)
http://www.music.mcgill.ca/~jacob/Mortuos.m4a
Assignment due: Thu. Jan 27, at the beginning of class
Assignment 2
1. Record, rip or download 2 sounds from your soundwalk recording or sounds generated by a house appliance or other common everyday object.
Transform each sound at least 3 times to create a totally different foley sound (i.e. the sound effects used for a movie, TV program, radio, etc.).
The transformation that you apply should be one of the following:
- clip
- echo
- compress
- filtering
- modulator (phaser, etc.)
- pitch, speed and tempo changes
- reverse
Put the original sound and each of the transformations on a single track with 2 sec. silence between each. Document the original sounds and the transformations that you applied, including the program name and values of effect parameters or any other instructions of how you manipulated the sounds. Submit the sound file and a text that describes the effects. Give a name to the resulting sound.
2. Reading: two short Jonathan Harvey papers.
Questions:
Explain how the composer transformed the bell sound using the idea of a "pivot".
Describe how the composer blended the boy's voice with the bell sound?
Explain the concepts of paired, evolved and convolved sonorities and their use in composition.
Paper #1:
http://www.music.mcgill.ca/~jacob/harvey_mortuos_ps.pdf
Paper #2:
http://www.music.mcgill.ca/~jacob/Harvey.pdf
Recording of Jonathan Harvey's "Mortuos Plango, Vicos Voco" (Save m4a link to your hard drive)
http://www.music.mcgill.ca/~jacob/Mortuos.m4a
Assignment due: Thu. Jan 27, at the beginning of class
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