120 Years of Electronic Music* is a project that outlines and analyses the history and development of electronic musical instruments from around 1880 onwards.
Press Here To Enter The Main Site: 120 Years Of Electronic Music
The ideas put forward in Ferrucio Busoni’s ‘Sketch of a New Aesthetic of Music’ (1907) inspired a generation of composers to explore micro-tonal and varied intonation and Hermann von Helmholtz’s ‘On the Sensations of Tone’ (1863) provided an understanding of the physics of sound suggesting the possibility of creating an unlimited palette of tones and shapes beyond the restriction of traditional instrumentation. This lead directly to the design of several new instrument; Thadeus Cahill’s Telharmonium (1897) and Jörg Mager’s Sphäraphon (1920s) amongst many other, that explored new forms of interaction freeing the composer and musician from the ‘tyranny’ of the fixed tempered Piano keyboard (which at the beginning of electronic music instrument design was a fairly recent standard). Though this experiment was ultimately doomed due to commercial pressure on instrument designers to provide simulations of existing instruments on a fixed tempered scale for popular music, the concept survived into the 1960s in ‘serious’ experimental music with the era of the Electronic Music Studio; GRM, Milan, WDR, Columbia-Princeton Electronic Music Center etc. and even Moog (in the original instruments) and Buchla’smodular synthesisers. More recently interest in atonality and non-manual control has re-surfaced with software synthesis and audio computer languages.
PDF Version Located Here: 120 Years of Electronic Music (PDF)
Enter The Site Here: Chavín de Huántar
“The Chavín de Huántar Archaeological Acoustics Project, part of the Chavín de Huántar Investigation and Conservation Project (Proyecto de Investigaciones y Conservación Chavín de Huántar, under the auspices of the Instituto Nacional de Cultura, Perú) seeks to explore the architectural and instrumental acoustics of Chavín de Huántar, a 3000-year old pre-Inca ceremonial center in the north-central sierra of Perú. The site complex includes an extensive network of labyrinthine corridors, shafts, and drains built of stone block, intact and primarily without post-period modification since the end of monumental construction around 600 B.C. The project has several aims: to measure, analyze, archive, and model the architectural and instrumental acoustics of Chavín, culminating in simulations for public interface and new archaeological research tools.”
Press Here To Enter The Site: MAX Demos
I especially like this great MIDI tool/reference patch
National Science Foundation CCLI Grant
Linking Science, Art, and Practice Through Digital Sound
This project’s objective is to develop curricular material that explains the science and mathematics of digital sound in a way that makes their relationship to applications clear, using examples from theatre, movies, and music production. This is a collaborative project among computer science, education, and digital sound design professors at a liberal arts university and a performing arts conservatory.
The intention is to engage students’ interest in science by linking it more tightly to practice, including artistic applications. The vision is to draw more students to the study of computer science by means of its exciting connections with art and digital media.
Press Here To Enter The Acoustic Ecology Site
AcousticEcology.org is the website of the Acoustic Ecology Institute, a 501(c)3 non-profit organization based in Santa Fe, New Mexico, USA. The Acoustic Ecology Institute was founded in 2003 as a spin-off of EarthEar.com, a commercial soundscape art catalog.
AcousticEcology.org provides access to news, academic research, public policy advocates, and articles and essays about sound and listening. We hope that these diverse threads of information and passion will be of service to policy makers, the media, and interested individuals. Please be in touch with any comments or feedback you may have. [SEE SITE HIGHLIGHTS]
A sampling of Acoustic Ecology Institute Activities
Wrote comprehensive research overview on seismic survey airguns (January 2004) [MORE]
Moderated panel on Ocean Noise at the 8th International Wildlife Law Conference (New Orleans, November 2004)
Presenting soundscape awareness programs in Santa Fe Public Schools (ongoing)
Organized Acoustic Ecology Lecture Series at College of Santa Fe (20042/5 to 2006/7 academic years) [MORE]
Participated in the formation of the American Society for Acoustic Ecology, AEI founder Jim Cummings elected first President of ASAE. [MORE]
Guest edited a special Ocean Noise edition of the Journal of International Wildlife Law and Policy (published in 2007)
Member of the curatorial team for Ear to the Earth, a symposium (December 2005) and festival (March 2005) hosted by the EMF in New York. [MORE]
Plenary speaker at Alberta oil and gas Spring Noise Conference, 2007 and 2009
Invited participant in Canadian Department of Fisheries and Oceans Science Advisory Committee to assess the effectiveness of seismis survey mitigation measures, 2009
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A signal generator, also known variously as function generator, pitch generator, arbitrary waveform generator, digital pattern generator or frequency generator is an electronic device that generates repeating or non-repeating electronic signals (in either the analog or digital domains). They are generally used in designing, testing, troubleshooting, and repairing electronic or electroacoustic devices; though they often have artistic uses as well.
There are many different types of signal generators, with different purposes and applications (and at varying levels of expense); in general, no device is suitable for all possible applications.
Traditionally, signal generators have been embedded hardware units, but since the age of multimedia-PCs, flexible, programmable software tone generators have also been available.
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20Hz and lower: these frequencies are generally responsible for warmth in a recording. Too much and the recording will sound muddy.
120Hz – 600Hz: these frequencies give depth to a recording, giving vocals and other instruments a strong sense of presence without being clinical. On the other hand, these frequencies are where you’re most likely to experience problems with vocal resonance. Too much in this area can be particularly fatiguing.
600Hz – 3kHz: these frequencies also give presence but of a generally harder nature. High output in this region is fairly common in rock music as it gives it a hard edge that suites the genre.
3kHz- 7kHz: is the area where vocal sibilance resides. 3kHz-5kHz is a very common peaking area in rock music because human hearing is pretty sensitive here and extra output here makes it sound louder. It also adds a harshness that is particularly fatiguing so don’t over do it. Because of the high sensitivity in this region you can add warmth without loss of clarity by attenuating this region a bit.
7kHz -: Cymbals etc, and all the other components that add the sense of quality and accuracy. Above 10kHz too much output may make your recordings sound like they are lacking some definition.
If your tracks lack warmth and have too much sibilance you either have too little output below 500Hz or too much above 3kHz. A generally good balance will be pretty flat from around 60Hz up to 1-2kHz and then rolling off to be around 10-20 dB down at 10kHz. How much tapering at the spectrum ends you’ll need will depend on the nature of the music.
If there are some sharp peaks in the peak spectrum (yellow trace) that stand out above the rest then they may need to be attenuated a bit. Again, don’t try to eliminate the peak but just reduce and control it a bit. A good rule of thumb would be to reduce the peak so that it is about as high as the other undulations on the spectrum.
Finally, strong output in the region of 3-5kHz can make recordings sound fatiguing and clinical. If you have strong output in this region reduce it by approximately 3dB.
Amazing Powerful Audio Opensource Software
“SPEAR is an application for audio analysis, editing and synthesis. The analysis procedure (which is based on the traditional McAulay-Quatieri technique) attempts to represent a sound with many individual sinusoidal tracks (partials), each corresponding to a single sinusoidal wave with time varying frequency and amplitude.”
Press Here To Enter The Web Site: http://www.klingbeil.com/spear/