Название: Automated Sound DesignАвтор: Eric Lyon
Издательство: A-R Editions, Inc.
Год: 2023
Страниц: 426
Язык: английский
Формат: pdf (true)
Размер: 11.0 MB
Sound design is a ubiquitous subject for electronic musicians working across a staggering array of contemporary musical styles and practices. There is an extensive literature covering the creation of Foley effects, and another body of literature addressing domain-specific applications of sound design technique, e.g., how to make bass sounds for Dubstep or how to produce drum sounds for Trap. There is also a computer music literature that focuses on the mathematics of digital signal processing as it pertains to implementing classic digital synthesis and processing techniques. Automated Sound Design addresses the topic from a different perspective, demonstrating the power of sound design when enhanced by automated structures implemented with computer programming. Through the techniques and projects developed in this book, the reader will learn how to create sound design scenarios that generate classes of sounds with controlled unpredictability and unlimited variety of output. This adventure will reveal new ways to work with additive synthesis, frequency modulation, analysis-transformation synthesis, drum machines, Black MIDI, and spatialization for binaural listening.
The realm of virtual sound design is effectively that of digital audio signal processing. In this world, sound is generated with algorithms that are executed by computer programs. The operation of these sound-generating algorithms can be broken down into two parts: a representation of the flow of audio signal, referred to as the “signal chain,” and the parameters of the signal chain, which can be controlled either live or in non-real-time. Parameters are the data required to drive a signal chain. For exam- ple, if the signal chain consists of a sine wave oscillator connected to a multiplier for gain control, the parameters would be the frequency of the oscillator, and the value of the gain unit. The number of parameters required for a given signal chain depends on the complexity of the audio algorithm, and the degree of control given to the user. There might be no parameters, or hundreds of parameters. The signal chain displays the elements of a digital sound processing algorithm, showing how the elements are connected, and the order of processing.
With the introduction of electronic music technologies in the early twentieth century, followed in the mid-century by computer music technologies, the process of sound design accelerated exponentially. The modular analog synthesizer model popularized by Donald Buchla and Robert Moog allowed new sounds to be created by combining a fixed set of electronic generators and processors with physical patch cords. This abstraction was furthered by the invention of computer music in the mid-twentieth century, where sound design techniques could be implemented in software, rather than having to design and build a new analog electronic circuit for every new sound processing or synthesis idea.
jаvascript in Max is so wonderful that every serious Max user should know how to use it. Before continuing with this section, start by reading “jаvascript Tutorial 1: Basic jаvascript,” in the Max documentation. Don’t worry if everything isn’t crystal clear; our examples will underscore the key points to learn about jаvascript in Max. Done reading the Max tutorial? Then let’s make a simple Max/jаvascript object. There are two main capabilities of jаvascript that empower us to go beyond what is possible in the basic Max visual dataflow interface. First is the ability to create event-based Max objects with code. Second is the ability to generate and manip- ulate entire Max patches. We will eventually use that capability to solve the problem of getting a variable number of harmonics into a Max patch. But first, let’s write the simplest jаvascript object ever.
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