| > This whole discussion omits all music made by morphing or vocoding
> sounds...
Indeed.
So I spent today doing what I love most: morphing!! This is
synthesized in csound with 11 oscillators (data taken from Spear
analysis) and later mixed in audacity (a very crude method!). This
kind of approach I think blurs the gap between synthesis and sampling/
processing.
http://idisk.mac.com/peimankh/Public/bell2voice16.aif
Best
Peiman
On 12 Jul 2008, at 02:41, Michael Gogins wrote:
> My own pieces, though composed almost exclusively algorithmically
> and rendered
> almost exclusively with Csound, are usually pieces in time and
> pitch, as
> opposed to acousmatic pieces, and many of them exclusively use
> 'pure synthesis' (perhaps
> better known as 'direct synthesis,' or maybe this term has gone out
> of use).
>
> One of my better pieces was heard at the 1998 ICMC in Banff ('Cloud
> Strata')
> and can be heard in digital distribution such as iTunes. It uses a
> single,
> very simple, Csound instrument originally created by Michael
> Bergman and
> adapted by me.
>
> Another piece, 'Triptych,' also exclusively uses direct synthesis,
> again
> pretty simple instruments adapted from other musicians (plucked
> strings, FM, etc.).
>
> Personally, I find the juxtaposition of sampled sounds with direct
> synthesis
> hard to manage, even jarring (even though I do it), and for that
> reason I
> tend to prefer direct synthesis.
>
> Recently, I have been experimenting with methods of direct
> synthesis that
> produce timbres as complex as natural sounds or acoustical
> instruments.
> There are several examples of such direct synthesis Csound
> instruments in
> the Csound Windows installer examples:
>
> PythonDemoApp.py -- LaMonte Young type drone with waveshaping
> distortion
> chuas_oscillator -- Chua's circuit (chaotic dynamical system
> oscillator)
> explorer
> circle_map -- Another chaotic dynamical system explorer.
>
> Generally speaking, I think that digital circuits tend to be more
> linear,
> analogue circuits tend to be more nonlinear. The nonlinear
> distortion in
> analogue circuits ends up creating a completely different sound and
> different esthetic, which is easier to make musical than digital
> circuits
> are. However, as I hope my examples show, it is possible to introduce
> various kinds of nonlinearity into digital circuits. I will
> continue to
> explore this.
>
> Once the nonlinearity is present in the digital circuits, the
> programmability of the digital circuits should make them
> considerably more
> useful to musicians than the analogue circuits ever were.
>
> Also, software instruments tend not have very 'playable' interfaces
> and, if
> they do have playable interfaces, it is hard to put in ten years of
> learning
> as a child on one.
>
> This whole discussion omits all music made by morphing or vocoding
> sounds...
>
> Regards,
> Michael Gogins
>
> ----- Original Message -----
> From: "Joseph Sanger"
> To:
> Sent: Friday, July 11, 2008 8:34 PM
> Subject: [Csnd] Re: Re: RE: Re: about the synthesis on an excellent
> sound
> found in freesound.
>
>
>> Hi there,
>>
>> Most of my experience with making music has been with acoustic or
>> electro-acoustic instruments and for years I shunned anything
>> remotely
>> "digital". I still feel this way, largely, certainly for live
>> performance - I'm not against the idea of laptop performance at
>> all, but
>> I've found it uninspiring when I've tried it myself, compared with
>> the
>> experience of playing "real" instruments.
>>
>> However, I've recently been experimenting with "purism" in terms of
>> creating computer music and I'm finding that making physical
>> models is a
>> really exciting way of working (for me), which is a very
>> mathematical way
>> of approaching sound design. (I haven't finished anything yet, but
>> I'll
>> post when I do!).
>>
>> What I'd really like to know is: Are there any other "pure synthesis"
>> composers/designers on the list, and can people point to any
>> examples of
>> interesting, emotive, exciting... er... good..., music which is
>> entirely
>> synthesised, with no "real sound sampling" used in the composition
>> process? (Examples which are free to listen to, of course!).
>>
>> All the best,
>>
>> Joe
>>
>>
>> Tobiah wrote:
>>>
>>>
>>>>> Using only pitch change, mixing and reverb, the author
>>>>> of the sound that you linked to has created something
>>>>> that would take much artistry and effort to create using
>>>>> regular opcodes.
>>>>
>>>>
>>>> *all* the matter is to synthesize this sound from nothing, with
>>>> whatever
>>>> opcodes are needed. As a user of csound, i'm interested mainly in
>>>> synthesis, and that was the motive i sent the message.
>>>
>>> I understand the purist stance, but I finally agree with a
>>> synthesis Guru that I studied with in the early nineties who even
>>> then
>>> had the foresight to describe mathematical synthesis to be 'passe',
>>> pointing toward capture and manipulation
>>> as the new frontier; computers had just risen to that
>>> level of capability. I thought that he was a fool at
>>> the time, my head filled with FM synthesis algorithms,
>>> and with a passion for the ultimate in freedom from constraints that
>>> comes with opcode synthesis. It may be
>>> the same reluctance that had so many studios clinging
>>> to mag-tape as their primary capture medium.
>>>
>>> For academic purposes, adding sinewaves together is loads of fun,
>>> and I
>>> understand your interest in making a synth
>>> sound similar to your example sound. The example though, probably
>>> took the author 15 minutes to create, demonstrating that
>>> capture and manipulation is the most efficient method to date,
>>> and in my
>>> experience, no matter the effort and complexity of the algorithm,
>>> capable
>>> of producing far more alluring and believable textures.
>>>
>>> You can still take advantage of all of the old techniques;
>>> you can FM a source sound, or mod a sine with a source sound..
>>> or what you like. I know that this all sounds very one sided and
>>> opinionated,
>>> but my message is that one is not failing to use csound
>>> to its greatest potential because of the liberal use of
>>> real world source sounds. I'll stop short of saying that
>>> the lack of their use would mean the opposite.
>>>
>>>
>>>
>>> Send bugs reports to this list.
>>> To unsubscribe, send email sympa@lists.bath.ac.uk with body
>>> "unsubscribe
>>> csound"
>>>
>>
>>
>> Send bugs reports to this list.
>> To unsubscribe, send email sympa@lists.bath.ac.uk with body
>> "unsubscribe
>> csound"
>
>
>
>
>
> Send bugs reports to this list.
> To unsubscribe, send email sympa@lists.bath.ac.uk with body
> "unsubscribe csound"
|