Chapter 15. Meeting 15, Discussion and Workshop15.1. Announcements• Due Today: Music Technology Case Study Draft • Due Thursday, 12 November: Sonic System project Draft Bring prototypes, sketches, ideas to class for discussion 15.2. Quiz Review• ?15.3. Reading: Collins• Collins, K. 2007. “In the Loop: Creativity and Constraint in 8-bit Video Game Audio.” twentieth-century music 4(2): 209-227.• What is technological constraint, and is it like determinism? • What does it mean to “aestheticize” technical limitations? • Collins divides dynamic music into interactive and adaptive: what is the difference? • What were some of the features and constraints of the NES sound chip? • Collins writes about the influence of social constraints on the development of 8 bit game music: what were these social constraints? • Collins writes that, in the context of musical features such as loops and repetitions, “the game’s audio aesthetic was chosen as much as determined...”; why does she make this distinction? • What are some of the approaches to looping Collin’s describes? 15.4. Workshop: A Basic Synthesizer: Envelope• Apply an AR envelope to a Saw wave with fixed pitch 34415.5. Workshop: A Basic Synthesizer: Looping Pitches• Loop through a list of MIDI pitches with [mgListLoop] 34515.6. Workshop: A Basic Synthesizer: Mixing Oscillators• Combine oscillators with different waveshapes in different octaves and tunings 34615.7. Workshop: A Basic Synthesizer: Signal Pitch Control• Convert the MIDI pitch value to a signal and low-pass filter [lop~ 20] to smooth transitions 34715.8. Workshop: A Basic Synthesizer: LPF Envelope Modulation• Modulate the cutoff frequency of the low pass filter [moog] with an AR envelope 34815.9. Workshop: A Basic Synthesizer: LPF Modulation with LFO• Modulate the cutoff frequency of the low pass filter with a sine wave [osc~ 0.15] 34915.10. Workshop: A Basic Synthesizer: AM Tremolo• Modulate the amplitude between 0 and 1 below the audio rate 35015.11. Workshop: A Basic Synthesizer: Ring Modulation• Modulate the amplitude between -1 and 1 above the audio rate 35115.12. Workshop: A Basic Synthesizer: Vibrato• Modulate the oscillator frequency between -0.1 and 0.1 MIDI steps at a slow rate (6 Hz) 35215.13. Workshop: A Basic Synthesizer: Frequency Modulation• Modulate the oscillator frequency between -4 and 4 MIDI steps at a fast rate (40 Hz) 35315.14. Workshop: A Basic Synthesizer: Filtered Noise• Use a low-pass filtered noise for a percussion sound 35415.15. Hardware Hacking: Oscillator Clock Controlled Sequencer• 74C14 Oscillator (Collins 2009, p. 135) 355© Routledge. All rights reserved. This content is excluded from our Creative Commons license. For more information, see http://ocw.mit.edu/fairuse. • CD4017: decade counter, providing 10 output voltages at rate determined by a clock (Collins 2009, p. 208) Cycle lengths can be altered by connecting an output to the reset input 356© Routledge. All rights reserved. This content is excluded from our Creative Commons license. For more information, see http://ocw.mit.edu/fairuse. 357• CD4046: Voltage controlled oscillator (capable of pitch tracking) (Collins 2009, p. 204) © Routledge. All rights reserved. This content is excluded from our Creative Commons license. For more information, see http://ocw.mit.edu/fairuse. 358• VCO driven by voltages of the CD4017 (Collins 2009, p. 209) © Routledge. All rights reserved. This content is excluded from our Creative Commons license. For more information, see http://ocw.mit.edu/fairuse. 359• Alternative examples YouTube (http://www.youtube.com/watch?v=FqWzJt3Nm-U)36015.16. Workshop: A Basic Synthesizer: Sequencer Pitch Control• Counter controlled selection between 8 different MIDI pitch values 15.17. Workshop: A Basic Synthesizer: Sequencer Pitch and RhythmControl• Apply event triggers to pitched sequencer value selection and rhythm amplitude list loop Selecting triggers from a counter provides rhythmic subdivisions 36115.18. Workshop: A Basic Synthesizer: Sequencer Control with SAHRandom LPF Modulation• Use noise through a SAH to produce random LPF cutoff frequencies applied ot noise 36215.19. Listening: Vaggione• Audio: Horacio Vaggione, "24 Variations," 2002 • Contemporary electro-acoustic music employing approaches to sample layering, transformation, and micro-organization (micromontage and granular synthesis) 363MIT OpenCourseWare http://ocw.mit.edu 21M.380 Music and Technology (Contemporary History and Aesthetics) Fall 2009 For information about citing these materials or our Terms of Use, visit: