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This is another "funny" title that is re-translated from Chinese translation, which was translated from the original English text previously. My concept of sound - Perception of That Sound As a Basis Vector of Music. Why? It's a long story, but it's an interesting phenomenon exists in Musicacoustica Festival brochure.
Workshop Info: The aim of the workshop will be to create a four channel drum machine. This will involve creating separate Max/MSP patches which can playback and synthesise drum sounds, as well as a master sequencer patch for creating and triggering drum patterns. The overall design will be similar to software drum machines (such as Propellorheads' Redrum) or classic hardware drum machines such as the Roland TR-808. The task as a whole will provide a solid grounding in both Max (control messages) and MSP (digital signal processing). The core principles of sound playback, synthesis and sequencing will be introduced, alongside aspects of sound mixing and user interface design. These techniques are the foundations of almost any Max/MSP patch.
Each session will consist of four elements, as follows: A Theory - lecture with handouts and interactive examples from the book "Electronic Music and Sound Design" B Introduction to the Max/MSP Environment - demonstrations and activities which will introduce you to how to use the Max/MSP application C Example Patches - a look at a range of existing patches to understand how they work D Patching Activities - creating your own Max/MSP patches and reusing them in more complex projects Time will be available in the final session and outside of class time to work on projects with advanced students.
Session 1: Create a Simple Sample Sequencer AM 1.1 understand the basics of patching in Max 1.2 build and encapsulate a simple sample playback patch 1.3 control the sampler using envelopes PM 1.4 build a simple sequencer patch 1.5 control the sampler using the sequencer 1.6 create a user interface for the sampler/sequencer (in presentation mode)
Session 2: Drum Sound Synthesis and Sample Accurate Sequencing AM: 2.1 understand the pros and cons of sampling and synthesis 2.2 understand the principles of additive and subtractive synthesis 2.3 synthesise a snare drum using additive and subtractive synthesis methods 2.4 synthesise a bass drum using additive and subtractive synthesis methods 2.5 use envelopes to alter the pitch and timbre of sounds over time PM: 2.6 build a sample accurate sequencer to trigger sounds 2.7 add a mixer section to the patch to combine and pan sounds
Session 3: Wave Table Synthesis and Multi-Channel Sequencing AM: 3.1 understand the principles of wavetable synthesis 3.2 synthesise a cymbal sound using wavetable synthesis PM: 3.3 build a four channel drum sequencer with duration, envelope, panning and gain control. The finished sequencer should: - show the current playback position - allow forwards or backwards playback - allow tempo to be specified in beats per minute (bpm) - allow notes to be placed freely or snap to a time grid (quantisation) - allow an amplitude envelope to be applied to each type of drum sound - allow variation of a single parameter for each drum hit (i.e. pitch of bass drum) - allow patterns to be recalled and saved
