View credits, reviews, tracks and shop for the CD release of Audible Design on Discogs. Audible Design: A Plain and Easy Introduction to Sound Composition [Trevor Wishart] on *FREE* shipping on qualifying offers. to practical sound composition / by Trevor Wishart Wishart, Trevor Audible design; [Index to] Sound examples; Appendix 2: a diagrammatic guide to sound .
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Again, this may be true with simple sound input but complex sounds are just changed in spectral “feel” as a rapidly changing sine-wave is no less perceptually chaotic than a rapidly changing arbitrary wave-shape. Email us at links digital-music-archives. This mimics part of the wisharrt of several voices attempting to deliver the same information.
Audible Design : A Plain and Easy Introduction to Sound Composition
A further enrichment may be achieved by mixing an already stereo spectrum with a pitch-shifted version which is left-right inverted. In the sound example a set of such sounds, suggesting a ajdible object, is destructively distorted in various ways, suggesting a change in the physical medium in which the ‘bouncing’ takes place e. Denis Smalley is one of the UK’s best known composers of electroacoustic music, and this CD is a personal favourite of ours – definitely a desert island disc.
These inharmonic sounds can be transposed and caused to move subtle or complex pitch-gliding just like pitched sounds also see Chapter 5 on Continuation. In a very simple sound source e.
Such distortion procedures work particularly well with short sounds having distinctive loudness trajectories. In a crude way, filters may be used to eliminate unwanted noise or hums in recorded sounds, especially as digital filters can be very precisely tuned.
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Finally, we may shuffle the time-window data in any way we choose spectral shufflingshuffling windows in groups of 1 or 2 or 64 etc. These shade off into the area of “Texture” which we will discuss in Chapter 8.
Audible Design : Trevor Wishart :
Thus we may convert all the wavesets to square waves, triangular waves, sine-waves, or even user-defined waveforms. The one exception to this is that certain partials may decay more quickly than others without destroying this perceived fusion as in sustained acoustic bell sounds. A not-too-narrow and static band pass filter will transform a complex sound-source usually retaining its morphology time-varying shape so desigm the resulting sound will relate to the source sound through its articulation in time.
ComiXology Thousands of Digital Comics. Wavesets correspond to wavecycles in many pitched sounds, but not always Appendix p Amazon Restaurants Food delivery from local restaurants.
More importantly, the morphology changing shape of the spectrum is already bell-like.
Ultimately we may use a procedure which follows the partials themselves, separating the signal into its component partials partial tracking. In a more signal sensitive desing a filter or a frequency-domain channel selector wishxrt be used to separate some desired feature of a sound, e.
The text concludes with an extensive appendix in which all processes described in the text are laid bare in diagrammatic form, avoiding mathematical or technical language.
Bearing in mind that these do not necessarily correspond to true wavecycles, even in relatively simple signals, we will anticipate producing various unexpected artefacts in complex sounds. The accompanying CD of music examples, illustrates each point in the text. The music is simply stunningly beautiful, the production and sound quality are as good as it gets.
It merely contributes to the more general percept of noisiness. A three or four fold repetition produces a “phasing”-like aura around the sound in which a glimmer of the bead stream is beginning to be apparent.
In particular, we can separate the spectrum into parts using band pass filters or spectral splitting and apply processes to the N separated parts e. Finally, we can introduce a sense of multiple-sourcedness!
In the sound examples the sound with a wood-like attack has wavesets replaced by aduible waves, and then by sine waves. The peaks, known as formants, are responsible for such features as the vowel-state of a sung note.
Trevor Wishart – Globalalia/Imago
Ideally it must deal auvible some way with inharmonic sounds where the form of the spectrum is not known in advance and noise sources where there are, in effect, no partials. Similarly, in the earliest analogue studios, composers came into contact with oscillators producing featureless pitches, noise generators, producing featureless noise bands, and “envelope generators” which added simple loudness trajectories to these elementary sources.
If the partials are not in this relationship, and provided the relationships from window to window remain relatively stable, the ear’s attempts to extract harmonicity whole number relationships amongst the partials will result in our hearing several pitches in the sound. We can also imagine a kind of harmonic to inharmonic vibrato-like fluctuation within a sound. Initially, the sound appears to have an indefinable “aura” around it, akin to phasing, but gradually becomes more and more bell-like.