Writing
Notes on sound, tools, teaching, and creative practice.
The archive brings together essays, reflections, and technical posts from across the site’s earlier years.
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Experimental Music
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iZotope Holiday Pricing
http://www.youtube.com/watch?v=VzUxOojmoiY I just took advantage of Izotope’s 30% discount on plug-ins and libraries through the end of the year and picked up the Wood, Food, Glass, and Toy libraries for Iris. Iris is definitely my favorite virtual instrument at the moment. I picked up Iris a few weeks ago and instantly fell in love with
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Sanken CSS-5
Foothill Music Tech just got the Sanken CSS-5 I’ve been wanting for years. I used one for an SCEA title a few years back and loved the sound and the ease of use. Coupled with our Sound Devices 702 it makes for the ultimate stereo field recording rig. It’s definitely at the high end price-wise of stereo field recording
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Creating a Drum Editing Matrix in Pro Tools
Here’s a quick tutorial I posted on YouTube that shows how to create a drum machine-style editing matrix in Pro Tools. It makes use of a little-known feature that lets you display a single MIDI note per track. Be sure to check out my YouTube channel for a ton of free Pro Tools tutorial videos:
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Beginning Pro Tools
The Beginning Pro Tools playlist from my YouTube channel.
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Intermediate Pro Tools
The Intermediate Pro Tools playlist from my YouTube channel.
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Pro Tools & Game Audio
The Pro Tools & Game Audio playlist from my YouTube channel.
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Sound Synthesis with Physical Models (1996)
Introduction “The dynamic behavior of a mechanically produced sound is determined by the physical structure of the instrument that created it” (DePoli 223). The device of production is fundamental to the character of a sound. Nevertheless, most forms of synthesis function without regard to the physical attributes of the sound creation mechanism. Traditional synthesis algorithms
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Granular Synthesis (1995)
Introduction “Granular synthesis is an innovative approach to the representation and generation of musical sounds” (DePoli 139). The conception of a granular method of sonic analysis may have been first proposed by Isaac Beekman in his article Quantifying Music (Cohen). This late Nineteenth Century document discusses the organization of music into “corpuscles of sound”. Unfortunately,
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A Brief History of Computer Music (1994)
“I dream of instruments obedient to my thought and which with their contribution of a whole new world of unsuspected sounds, will lend themselves to the exigencies of my inner rhythm.” (Hansen, 316) When Edgard Varese spoke these words in 1937, he had no idea that he was presaging one of the greatest movements in