Secondly, a transient boost parameter make possible to increase the transients, which are usually diminished with most of pitch shift processing methods. The pitch factor is measured in half tones and cents (hundredth of half tones).įirstly, the phases are managed to get a maximum of accuracy on the result frequencies, to avoid the “phasing” drawbacks that are associated with this kind of processing. It also provides a transient boost knob to boost the attack of the result. The plugin is designed to avoid the usual drawbacks of this kind of processing. Without changing the pitch, Shorten by factor of two, and shift up by 120Ĭents.It changes the pitch of a sound, from one octave below to one octave above the original sound. Version), Noise Gate (the expanded version), Lengthen by factor of two Reversed (unless otherwise noted, use the normalized version as the sourceįor the following), reduce gain by 50%, change EQ using Parmetric EQ,Ĭhange EQ using Graphic EQ, Compress/Limit, Expand (the compressed The firs file (mono) should countain: the original, normalized version, Document your settings use Resynthesis Gating for bestĪssignment #1 (Due 98/09/15, all assigments are due 2pm) Take the first 50ms of the "Sh" in "Short." and time-expand it 100.Repeat the last problem (#5) Use Track 9 and Time-expand 3 times.Results? What is the difference between this result and Track1? What did Try to make it asĬlose as possible to Track 1. Use Track 3 and Pitch-shift down 2 octaves.In additionĭocumenting the window type and the number of bins, describe theĭifference in the results compared to results using Track 1. Repeat the last problem (#3) using Track 2 as the source.Pitch-shift down 2 octaves (Tracks 5-6).Hardcopy (start without using the Resynthesis Gating). Window type and the number of bins used for both versions and submit a Results and another which is to you most "interesting." Document the For each, provide two versions: a most natural and intelligible Using the Phase Vocoder in SoundHack and the sound of Track 1 do theįollowing.Record the same phrase in the same manner but in a very noisyĮnvironment, preferably outside (traffic noise)."Short-time" should be spoken and "synthesis" should be sung. Record as best as possible the phrase "Short-time synthesis" with your.On how to make audio CD after class next Tuesday (9/22) given by Meg in Submit the result of this assignment on a CD (there will be a tutorial Submit the hardcopy of the orch and score files and place a copy inĪssignment #2 (Due 98/09/24, all assigments are due 2pm) Use the instrument of the form: a1 oscil p4, p5, 1 where p4 is the amplitude Morph (interpolate) between Trumpet to Clarinet sound using theĪssignment #3 (Due 98/10/15, all assigments are due 2pm).Use time-varying dynamic envelope and frequency change. Repeat above using Trumpet-like sound using the information on the.Repeat above using one oscillator using sawtooth wavetable lookup.Repeat Assignment #3 using sawtooth generate by using 10 sine.Note also that the B-flat is dampened by aĪssignment #4 (Due 98/10/29, all assigments are due 2pm) Use additive or FM synthesis to simulate the vibraphone sound. Reproduce as accurately as possible, the following vibraphone excerpt. User interface and use a MIDI mixer (DMP7/11) to control the variousĪssignment #5 (Due 98/10/29, all assigments are due 2pm) Internally-generated wave and sampled sound grains. Produce a short (2-5 min.) granular synthesis piece.Each slider should be controllable via MIDI mixer (controller).Īssignment #6 (Due 98/12/03, all assigments are due 2pm) Stall, medium concert hall, church, cave, etc.)Īssignment #7 (Due 98/12/10, all assigments are due 2pm)īuild a graphic equalizer similar to the one in Assignment #6 using Should not have more than three sliders controlling input gain, output Parallel and one to three allpass filters in series. 98/09/08: Digital Recording and Mixer (analog)Īssignment #8 (Due 98/12/17, all assigments are due 2pm)
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