Vladimir Ussachesky,.... now there's a name I haven't heard or
read in a long time, except in books about 20th century music.
I was beginning to think he was all but forgotten. Used to teach 
at BYU (I think)?? Used to know someone (circa 1981)who took a 
course from him in electronic music (I think it was at BYU).

-Partev


=================================================================



--- michael.gogins@gmail.com wrote:

From: Michael Gogins 
To: csound@lists.bath.ac.uk
Subject: Re: [Csnd] Resources for complex sound creation
Date: Mon, 14 Nov 2011 19:37:43 -0500

Yes, the Farnell book is very good, I bought it myself.

I should add, long long ago in what wasn't, but seems like, a
different life I had access to early modular synthesizers (modular
Moog clones made for Vladimir Ussachesky by Nyle Steiner, and some
Buchla stuff) and spent happy hours plugging modules together at
random. This was very very helpful. I would think that working through
Farnell's examples with Pure Data, not with Csound, could do something
of the same sort.

The main point I'm trying to make is that a visceral feel developed by
quickly turning knobs and patching signals may produce quicker and
deeper learning if it is coupled with some theoretical understanding
of what is going on. I don't think either a mostly
mathematical/theoretical understanding, or a purely pragmatic
tweaking, will be as good. The possibilities of making bland or
annoying noises are just too vast, either way.

Listening to a lot of the publicly available Csound pieces, finding
out which instruments you like, and adapting them as I mentioned
before, has a lot of this approach packed into it. You could probably
learn a lot by taking good existing instruments, providing them with
knobs in CsoundQt, and adding some additional, switchable signal
paths.

Regards,
Mike

On Mon, Nov 14, 2011 at 7:04 PM, Alex AB  wrote:
> Hello,
> I am also far from being an expert, but for studying sound design, I find
> Andy Farnell's "designing sound" book to be a great introduction. It's
> written for pd but nothing prevents you from implementing the designs with
> Csound. The first part of the book is a basic physics lesson, which in
> itself has helped me a lot to imagine the "why" of good sounds and
> definitely makes the book a worth while read.
>
> The "Csound book" is also very enlightening, the "designing viable
> instruments with csound" chapter is one I keep going back to.
>
> Also, Miller Pluckette's "Theory and Technique of Electronic Music", while
> quite technical, is freely downloadable from the author's web page (examples
> are also for pd, but again, nothing stops you from doing the same thing with
> csound).
>
> On 15 November 2011 00:52, luis jure  wrote:
>>
>> i'm certainly not an "expert", and i can't say that i'm able to create
>> exactly what i want to hear, but i might contribute with a couple of
>> recommendations: one, try to learn as much as you can about acoustics,
>> psychoacoustics, and the acoustics of musical instruments. not that you
>> want to imitate any existing instrument in particular, but you'll learn
>> what makes acoustic instruments interesting, that is so often lacking in
>> synthetic sounds. my other recommendation is try to learn as much as you
>> can about synthesis techniques (there's not just one book for that, but
>> the
>> classics are always a good place to start: dodge, computer music
>> tutorial). perhaps the techniques themselves will inspire you with their
>> own sounds, instead of trying the other way around...
>>
>>
>> Send bugs reports to the Sourceforge bug tracker
>>            https://sourceforge.net/tracker/?group_id=81968&atid=564599
>> Discussions of bugs and features can be posted here
>> To unsubscribe, send email sympa@lists.bath.ac.uk with body "unsubscribe
>> csound"
>>
>
>



-- 
Michael Gogins
Irreducible Productions
http://www.michael-gogins.com
Michael dot Gogins at gmail dot com


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