Assignment 3: Short Piece
- Put together a 2-3 minute piece using the sounds you recorded in Assignment 1, along with any additional sounds you want to record.
- Edit and mix in Digital Performer or Logic Pro, using volume pan, and (possibly) effects automation.
- Experiment with pitch-shifting and time-scaling your audio.
- Apply EQ (equalization), reverberation, and other real-time effects.
- Try freezing your sound using granulation.
- Try coloring your sound with pitches imposed by resonators or bandpass filters.
- Bounce your mix to disk, and make a 24-bit WAVE or AIFF file.
In Assignment 2 you practiced making phrases using the sounds you recorded. For this assignment, imagine ways of expanding on these phrases to build a complete composition. (It’s also okay if you want to abandon those phrases and try a new approach.)
Continue working with the idea of using in a musical way sounds that are not explicitly musical. Often these sounds do not have clear pitch. You can work with them as they are, or impose pitch on them using a variety of tools, some of which you may download from this page below.
How might you tell a musical story with these sounds? Consider making use of the spatial resources available to you: left-right panning and depth simulation (via reverberation, volume reduction, and high-frequency roll-off). Also consider the continuum between clearly pitched and unpitched, possibly noisy sounds, and use this as a compositional resource.
Please DO NOT use any of the following for this assignment:
- sounds from synthesizer or sampler presets,
- sounds copied from sound effect CDs or audio CDs,
- sounds copied from Internet sites,
- finished passages of music played on instruments (isolated sounds are okay), or
- passages from recordings of your own acoustic pieces.
This may seem restricting, but you can do a lot with just a small collection of sounds, if you take advantage of the time-scaling, pitch-shifting, filtering, and other effects in the DAW.
Some Sound Modification Tools
The following applications let you perform some sound transformations that are not readily available in most DAWs. Using them is not as convenient as using a plug-in inside of a DAW, but they are still valuable, especially for sounds that do not need to be synchronized precisely with other sounds.
The applications are only for macOS at the moment. (Sorry.) They are yours to keep and use on any Mac.
After downloading an application, un-zip it (if necessary), and move it wherever you want. It does not need to be installed in an admin-controlled folder, such as /Applications. You should be able to run these on any of the Macs in the Music Library.
To use an application...
- import an audio file using the Open button (or drag a sound file onto the Open button),
- press Play while exploring the settings until you get something interesting, and
- use the Record button to dump whatever you’re hearing to disk as a 24-bit WAVE or AIFF file. You can use this file in your DAW project.
For all of the apps, be sure not to let the output meter clip. Use the output fader to control this.
Here are short descriptions of the apps.
Color your sound with pitches created by six tunable resonators. Vary the amount of feedback to change how much the resonators ring. Use the low-pass filter to tame the buzziness. Try using the MIDI keyboard to tune the resonators. The resonator works well with an input sound containing a broad range of frequencies and articulated, impulsive sound, such as speech or struck objects. It does not work well with single sine waves as input.
Color your sound with a bank of 8 tunable band-pass filters. Tune them using the sliders or by playing a MIDI keyboard. Adjust the selectivity of each band using its Q control. This is another way of imposing pitch on any sound with the characteristics suggested above for input to the Resonatorbank.
WARNING: the volume of sound can change dramatically when reducing the value of Q sliders (dragging to the left). In other words, the output of a filter with high Q is much quieter than one with low Q.
Drag a sound into the empty waveform window. Then experiment with the controls. This device decomposes the sound into individual “grains” — short bursts of sound ranging from a few milliseconds to a second — then recombines the grains into a stream of sound. If you know video software, the output side of this device is similar to a particle generator.
The Granulator parameters are...
- Playback speed and direction of input sound. 1 means normal forward speed; -1 means backward; 2 means double speed; 0.5 means half speed, etc.
- grain rate
- How quickly to play grains.
- grain duration
- Duration of a single grain.
- input jitter
- Amount of random variation applied to the input time of a grain.
- output jitter
- Amount of random variation applied to the output time of a grain.
- grain amp jitter
- Amount of random variation applied to grain amplitude.
- stereo width
- Width of stereo image created by random panning of grains.
- Transposition of grains.
- transpose jitter
- Amount of random variation applied to grain transposition.
- chord transposition
- Play notes on the keyboard to set transposition levels for grains, applied in addition to the transpose control. Middle C means no additional transposition. Use the clear button to release any sounding transpositions.
- Please complete one digital audio workstation (DAW) project
that satisfies the criteria above.
Keep this project in your account on the MC 304 computer. Do not submit it in Canvas.
- Make a 24-bit WAVE or AIFF version of your final mix.
Name this file with the title of your piece.
- Write a short description of your piece (as a plain text, Word or RTF file). Include the title of the piece and a few sentences about how you made it, what it’s about, and so forth. Say what you like best about the piece, and what you want a listener to notice.
- Submit the mix file and description in Canvas.
This assignment will receive a letter grade based on the following criteria. The highest grade is A. Grades will be based on overall conception and execution, the quality of the source recordings, your sonic imagination, attention to detail, sensitivity to spatial (panning, reverberation) and spectral (EQ) qualities, following the instructions (including submission requirements), and completion of the project description.