"The Future of Music: Credo", 1937.Ĭage, John. Microphone Techniques: Live Sound Reinforcement (PDF document, 1.4 MB), a Shure Educational Publication. The Soundcraft Guide to Mixing (PDF document, 2 MB) Guide to Sound Objects by Michel Chion, a scholarly exegisis of Pierre Schaeffer's groundbreaking work and writings on musique concrète. Music 151: Computer Music Composition - Winter 2017ġ20 Years of Electronic Music – An online historyĭigital Audio (1997) by Christopher Dobrian, from MSP: The Documentation published by Cycling '74 and l'IRCAM While the results here are radical, similar techniques find more practical applications – like building a smooth waveform pad synth.Īnyway, I suspect you can from here go down either a link hole looking at that research and the engineering side, or get lost playing with sounds.This page contains hyperlinks to online documents and information relevant to the class The “mammoth” reference is because it takes the FFT of the whole sound file at once instead of using windows / chunks of the sound. It’s a project of Notam, the electronic art research center in Oslo, and developed by Øyvind Hammer, with a UI by Kjetil Matheussen. Mammut is old software, from pre-2007, but thanks to being built in the free JUCE environment still compiles and runs nicely. Mammut is also ideal for common operations such as filtering, spectrum shift and convolution and it provides an optimal performance. The sounding results are often surprising and exciting. Mammut is a rather unpredictable program, and the user must get used to letting go of control over the time axis. In addition to being able to edit a spectrum directly, you can apply more beautiful time stretching and features like convolution, which combines audio waveforms by spectra.Īnd there’s undo/redo, too, accessed by up and down arrows in the middle of the interface, so you can back out of decisions that just screwed up the sound. These have descriptions that range from detailed and useful to glib to … tabs that have no explanation at all, or one that says “Rather useless.” You’re then able to directly manipulate the spectrum of the sound, via a seemingly random assortment of tabs with different functions. Then, with that dizzying animation looping in the background, you load a sound. You know you’re in for something out of the ordinary from the moment you launch it, and are treated to a woodcut of a woolly mammoth and some braying animal noises and … wind … or something. Mammut represents a different path to strange noises. also does granular stretching for a less spectral sound. “++spiralstretch does a pvoc stretch on realtime incoming sound with up to 8 overlapping “stretchers”. As creator Tom Erbe wrote me (after I mentioned I loved his software for doing convolution all the way back to the mid 90s), he mentioned: If you want PaulStretch, it’s worth checking out the original, or the version now baked into free sound editor Audacity: That opened the floodgates to lots of discussion of where to find similar tools. Last week, I noticed that popular time stretching algorithm PaulStretch had found its way into a convenient plug-in form for Mac and Windows. From producing eerie, smeared convolutions of files to manipulating the spectrum of a sound in ways that are actually unlistenable (as in, they cause excruciating pain), Mammut is delightfully un-commercial and totally unpredictable. From the darkest arts in auditory alchemy, you can find gems like Mammut, a free tool that will utterly mangle digital audio into forms beautiful and chaotic.Īnd I mean really weird.
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