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Pixel 3 hitman absolution wallpaper8/1/2023 I realised that to sculpt this sound I really would have liked to use sound-file convolution for cross-synthesis. Unfortunately:, the CCM did not own an expensive Unix workstation to run the CARL software distribution (Loy Reference Loy2002), and my attempts to quickly port Mark Dolson’s convolvesf application to a Macintosh System 6 were too difficult to complete while following our 60 hour a week recording schedule. Instead, the airport was created with reverb, live equalisation and panning, and the Greek chorus modulated a gated Buchla Touché drone providing the pitched resonance. When production moved from Oakland to NYC in the fall, and Tom Hamilton took over my role, I finally had time to create the tool I no longer needed for Improvement, but wanted regardless. I bought a book on programming with Think C and the Mac Toolbox, and started work on SoundHack (Figure 1). ![]() ![]() My main motivation for programming SoundHack was to make new computer music techniques easily available to the experimental musician community. I became aware of much of the interesting research in computer music during my time as a research assistant at the Center for Music Experiment at UC San Diego (1984–87). Not only was I excited by the sonic possibilities of these techniques, but I was also excited at what sonic creations experimental and electronic musicians might make with them. There was also a very practical motivation for the development of SoundHack. At the time, the tools that we used all had their own sound file formats.
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