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ElectroacousticTechniques

Page history last edited by jef chippewa 12 years, 2 months ago

The list has been compiled into an html page for eContact! 8.4 Educational Resources. If you wish to add an entry, or to annotate an existing entry, contact jef chippewa directly.

 

Thanks to all for your contributions!

 

 

SEARCH IN THIS WIKI <findpage>

  1. CONTRIBUTION GUIDELINES
  2. WORKS AVAILABLE IN SONUS
    1. Acousmatic — See Musique Concrète: "acousmatic" techniques
    2. Additive Synthesis
    3. Analog Modular Synthesis, General
    4. Circuit Bending
    5. Collage(1)
    6. Collage(2)
    7. Digital trash or computer data used as sound materials
    8. Exploration of the object
    9. FM Synthesis
    10. Granular Synthesis (see also Time Stretching)
    11. Installation
    12. MIDI-stration
    13. Mixed
    14. Monophonic
    15. Multi-channel
    16. Musique Concrète: "acousmatic" techniques
    17. Musique Concrète: “traditional” techniques
    18. Naive
    19. Regeneration (also known as Resonation)
    20. Ring Modulation
    21. Risset Tones (aka... Shepard Tones)
    22. Soundscape (collage)
    23. Soundscape (narrative)
    24. Subtractive Synthesis
    25. Time stretching
    26. Variation form
  3. WORKS AVAILABLE COMMERCIALLY
    1. Acousmatic — See Musique Concrète: "acousmatic" techniques
    2. Additive Synthesis
    3. Analog Modular Synthesis, General
    4. Circuit Bending
    5. Collage(1)
    6. Collage(2)
    7. Digital trash or computer data used as sound materials
    8. Exploration of the object
    9. FM Synthesis
    10. Granular Synthesis (see also TIme Stretching)
    11. Installation
    12. MIDI-stration
    13. Mixed
    14. Monophonic
    15. Multi-channel
    16. Musique Concrète: “traditional” techniques
    17. Musique Concrète: "acousmatic" techniques
    18. Naive
    19. Regeneration:
    20. Ring Modulation
    21. Risset Tones (aka... Shepard Tones)
    22. Soundscape (collage)
    23. Soundscape (narrative)
    24. Subtractive Synthesis
    25. Time Stretching
  4. CONTRIBUTORS

 

CONTRIBUTION GUIDELINES

 

 

  1. In order to keep this list as simple and manageable as possible, only use examples that provide a very obvious example of the technique.
  2. Keep the code simple. Do not embed links.
  3. Do not delete any information that you yourself did not create.
  4. Do not edit others’ entries.
  5. Use the following format, and provide all information for each piece. If the composition is an excellent example of more than one technique, list the composition under each appropriate heading.

Composer — Composition (Year), on CDTitle (Year). Brief (10–20 words max!) description of how the technique was used. 1–3 regions where the technique is clearly evident, formatted as 00:00-00:00; 00:00-00:00. http://LinkToSONUS.com

 

 

 

 

WORKS AVAILABLE IN SONUS

 

 

Acousmatic — See Musique Concrète: "acousmatic" techniques

 

 

 

 

Additive Synthesis

 

 

 

Analog Modular Synthesis, General

 

 

 

Circuit Bending

  • Martin John Callanan & David James Callanan — 030307 Audio (2002) 00:53:12. A compilation of audio experiments recorded live in late 2002. Electronic syth units where rewired/hotwired while being played. This process inevitably resulted in the irretrievable ‘death’of the unit. These recordings chart the death process – each session becoming more awkward as the unit’s components decayed

    http://www.sonus.ca/app/ui/more.php?Language=en&MediaID=1664

 

 

 

 

 

Collage(1)

 

 

 

Collage(2)

 

 

 

Digital trash or computer data used as sound materials

 

 

 

Exploration of the object

 

 

 

FM Synthesis

 

 

 

 

 

Granular Synthesis (see also Time Stretching)

 

 

 

 

Installation

 

 

 

 

MIDI-stration

 

 

 

Mixed

 

 

 

Monophonic

 

 

 

 

Multi-channel

 

 

 

 

Musique Concrète: "acousmatic" techniques

  • Antonio Russek - Viernes Santo (1997) Electroacustic piece constructed with flute samples processed on K2000 Kurzweil engine, and GRM Tools plugins. Realized at Laboratorio de Informatica y Electronica Musical (LIEM) in Madrid Spain. http://sonus.ca/app/ui/more.php?Language=en&MediaID=305

 

 

Musique Concrète: “traditional” techniques

 

Naive

  • Phillip Grant, Frank Koustrup, Kevin Curtis-Norcross - Monkees (2005). Naive in the sense of being out of one's depth: having the gift of two hours of broadcast time but preparation for only about 40-minutes of material, the Invisible PAIN Field Generator ran out of ideas. http://www.sonus.ca/app/ui/more.php?Language=en&MediaID=1795

 

 

Regeneration (also known as Resonation)

 

 

Ring Modulation

  • Frank Koustrup - Dancing on Hot Coals (2005). Main processing is distortion, flanging, filtering, octave shifts. Ring modulation used as ear candy that fades in and out, and moves across the stereo field. Most apparent near the end during sustained feedback. http://www.sonus.ca/app/ui/more.php?Language=en&MediaID=1809

 

 

Risset Tones (aka... Shepard Tones)

 

 

 

Soundscape (collage)

 

 

Soundscape (narrative)

 

 

 

Subtractive Synthesis

 

 

 

Time stretching

 

Variation form

  • Risto Holopainen - In Vitro (2001). This piece consists of a series of variations over a seven chord sequence in extended just intonation. The chords are:

(1/5, 1/3, 1/2, 4/7),

(6/7, 3/4, 3/5),

(5/6, 5/7, 5/9, 8/11),

(5/4, 3/4, 1/2, 5/6),

(3/5, 7/10, 9/10, 11/16),

(5/8, 3/4, 1/1, 5/7),

(3/2, 1/1, 3/4, 11/16).

http://cec.concordia.ca/electrobox/sonus02/Holopainen_In_Vitro.mp3

 

 

WORKS AVAILABLE COMMERCIALLY

 

 

 

Acousmatic — See Musique Concrète: "acousmatic" techniques

 

 

 

Additive Synthesis

Frank Rothkamm — Astronaut of Inner Space from FB02 (2003-2006) http://rothkamm.com?FB02

 

 

Analog Modular Synthesis, General

  • Maggi Payne — Crystal (1982), on Crystal CD (1991). Moog IIIP modular analog synthesizer with multi-tracking, in quad and stereo versions, video.

 

 

 

Circuit Bending

 

 

 

Collage(1)

 

 

 

Collage(2)

 

 

 

 

Digital trash or computer data used as sound materials

 

 

 

Exploration of the object

 

 

 

 

FM Synthesis

Frank Rothkamm — Atmospheric Composition from FB01 (2002-2005) http://rothkamm.com?FB01

 

 

Granular Synthesis (see also TIme Stretching)

  • Barry Truax — Riverrun (1986), on Digital Soundscapes. http://www.sfu.ca/sonic-studio/excerpts/excerpts.html
  • Maggi Payne — breaks/motors (2001), on Oasis, Music From Mills 2001 CD (2001). Tiny stepper motor is sound source; example is followed at 03:23 with a resonant, but unprocessed stepper motor for reference. 02:56-03:23.

 

 

Installation

 

 

 

MIDI-stration

  • Wendy Carlos — Switched-on Bach

 

 

 

Mixed

 

 

Monophonic

 

 

 

Multi-channel

 

 

 

 

Musique Concrète: “traditional” techniques

  • Maggi Payne — Airwaves (realities) (1987), on Another Coast CD (1988). Car interior and cars passing on highway recorded from overpass, increasingly layered; jet fly-overs. 00:00-00:2:36; 00:610-6:58.

 

 

 

Musique Concrète: "acousmatic" techniques

  • Maggi Payne — Resonant Places (1992), on Music from the Center for Contemporary Music (CCM) at Mills College CD (1994). Natural sounds in naturally resonant spaces. Beginning uses highly resonant filters (chair rolling in circle on oak floor). 00:00-02:00.
  • Maggi Payne — White Night (1984), on Crystal CD (1991). Looped voice fragments, some manipulated with digital delay, extensively layered, in quad and stereo versions.

 

 

 

Naive

 

 

 

 

Regeneration:

  • Alvin Lucier — I am sitting in a room

 

 

 

Ring Modulation

  • Karlheinz Stockhausen — Mantra (1970), on Stockhausen CD 16 MANTRA for two pianists. Two pianists dose the acoustic sound with varying degrees of Ring Modulation.
  • Karlheinz Stockhausen — Mikrophonie II (1965), on Stockhausen CD 9 MIKROPHONIE (etc.).

 

 

 

Risset Tones (aka... Shepard Tones)

  • Jean-Claude Risset — Modulations
  • Karlheinz Stockhausen — Hymnen, 4th Region (1966-7), on Stockhausen CD 10 HYMNEN Electronic and Concrete Music. 00:00-00:00 (??).

 

 

 

 

Soundscape (collage)

 

 

 

 

Soundscape (narrative)

  • Luc Ferrari — Presque Rien I

 

 

 

 

Subtractive Synthesis

 

 

 

Time Stretching

 

 

 

CONTRIBUTORS

Please send me your email address privately. It will only be used for the CEC’s administrative purposes; only your website address will appear in eContact! (if you provide one here).

Kevin Austin

jef chippewa http://cec.concordia.ca

Jeff Cloke

Frank Koustrup

Antonio Russek

 

 

 

my space counter

 

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