Difference between revisions of "220b-winter-2010/hw1"
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| − | Due date: 2010.1. | + | Due date: 2010.1.25 11:59:59pm (or thereabout), Monday. |
=== Reading === | === Reading === | ||
* Real-Sound-Synthesis: | * Real-Sound-Synthesis: | ||
| − | ** chapter 3 | + | ** chapter 3 | sections 4.0, 4.1, and 4.2 | chapter 10 |
| − | + | ||
| − | + | ||
* skim through articles on [http://en.wikipedia.org/wiki/Aleatoric_music chance music] | * skim through articles on [http://en.wikipedia.org/wiki/Aleatoric_music chance music] | ||
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*** [http://ccrma.stanford.edu/courses/220b/ck/Drone-2.ck Drone-2.ck] : the above with an added, time-varying "demon bunny" filter | *** [http://ccrma.stanford.edu/courses/220b/ck/Drone-2.ck Drone-2.ck] : the above with an added, time-varying "demon bunny" filter | ||
*** [http://ccrma.stanford.edu/courses/220b/ck/Drone-3.ck Drone-3.ck] : layering three of the above, controlling each independently | *** [http://ccrma.stanford.edu/courses/220b/ck/Drone-3.ck Drone-3.ck] : layering three of the above, controlling each independently | ||
| − | *** [http://ccrma.stanford.edu/courses/220b/ck/fm-mod.ck fm-mod.ck] : interpolating FM synthesis parameters | + | *** [http://ccrma.stanford.edu/courses/220b/ck/fm-mod.ck fm-mod.ck] : interpolating FM synthesis parameters |
* using FM synthesis in ChucK, create the following: | * using FM synthesis in ChucK, create the following: | ||
** 3 different "static" timbres | ** 3 different "static" timbres | ||
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| − | === Specification (part 2 of 2): | + | === Specification (part 2 of 2): Musical Statement === |
* explore and employ controlled randomness and chance, time-varying timbre and compose a musical statement | * explore and employ controlled randomness and chance, time-varying timbre and compose a musical statement | ||
** macro-level structure/form: as an exercise, the piece should contain at least 3 sections (think about the flow and relationship between sections) | ** macro-level structure/form: as an exercise, the piece should contain at least 3 sections (think about the flow and relationship between sections) | ||
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** take advantage of the timbre, time-varying control, and "bleepin'"/note/pitched event capabilities you've developed in part 1 | ** take advantage of the timbre, time-varying control, and "bleepin'"/note/pitched event capabilities you've developed in part 1 | ||
** write ChucK programs to generate the different passages/sections/layers; for each, run/record the program multiple times, tweak parameters, and choose the best result for each part. | ** write ChucK programs to generate the different passages/sections/layers; for each, run/record the program multiple times, tweak parameters, and choose the best result for each part. | ||
| − | ** put them together in audacity/ardour, or a bigger ChucK program | + | ** put them together in audacity/ardour, or a bigger ChucK program (final audio file - wav) |
=== Deliverables === | === Deliverables === | ||
| − | '''turn in all files by putting them in your Library/Web/220b/hw1/ directory, and then linking to them from | + | '''turn in all files by putting them in your Library/Web/220b/hw1/ directory, and then linking to them from your Library/Web/220b/index.html''' |
| − | your Library/Web/220b/ | + | |
* 1) your static timbres (part 1): 3 chuck files | * 1) your static timbres (part 1): 3 chuck files | ||
* 2) your time-varying timbres + bleeps/bloops (part 1): 3 chuck files + 1 bleepin' chuck file | * 2) your time-varying timbres + bleeps/bloops (part 1): 3 chuck files + 1 bleepin' chuck file | ||
| − | * 3) your | + | * 3) your musical statement (part 2): chuck files + final mix (.wav file) |
* 4) a short README text ('''readme.txt''') file that: | * 4) a short README text ('''readme.txt''') file that: | ||
** conveys your ideas/comments in constructing each program | ** conveys your ideas/comments in constructing each program | ||
** contains instructions on running your programs | ** contains instructions on running your programs | ||
** describes any difficulties you encountered in the process | ** describes any difficulties you encountered in the process | ||
| − | * 5) your | + | * 5) your index.html should link to these files (optionally, you can include your README directly in your index.html) |
Latest revision as of 22:18, 13 January 2010
Contents
Homework #1: Timbre-scapes
Due date: 2010.1.25 11:59:59pm (or thereabout), Monday.
Reading
- Real-Sound-Synthesis:
- chapter 3 | sections 4.0, 4.1, and 4.2 | chapter 10
- skim through articles on chance music
Specification (part 1 of 2): Crafting Timbres with FM
- check out the FM synthesis/drone examples here, in particular
- FM synthesis basics in ChucK
- fm-by-hand.ck : fm synthesis, 1::samp at a time
- fm-synth.ck : more commonly used FM synth basis, setting sync to 2
- fm-synth2.ck : yet another way to do FM synthesis in ChucK, via the Step UGen
- time varying Drone example (from class)
- Drone-1.ck : FM synthesis with SinOsc modulating a SqrOsc
- Drone-2.ck : the above with an added, time-varying "demon bunny" filter
- Drone-3.ck : layering three of the above, controlling each independently
- fm-mod.ck : interpolating FM synthesis parameters
- FM synthesis basics in ChucK
- using FM synthesis in ChucK, create the following:
- 3 different "static" timbres
- building blocks: oscillators, filters, etc.
- experiment with various parameters such as carrier frequency, modulator frequency, index of modulation, etc.
- 3 time-varying timbres
- building blocks: oscillators, filters, time-based control code
- can be a "drone" (but doesn't have to be)
- the time-varying process(s) should be somehow coupled to one or more of the FM/filter parameters
- next, take a timbre from above, and apply an ADSR envelope to "carve" out an attack, decay, sustain, and release
- test this by making some bleeps and bloops
- 3 different "static" timbres
Specification (part 2 of 2): Musical Statement
- explore and employ controlled randomness and chance, time-varying timbre and compose a musical statement
- macro-level structure/form: as an exercise, the piece should contain at least 3 sections (think about the flow and relationship between sections)
- think about how to leverage randomness to controllably generate passages...
- potential parameters that can be influenced by chance and trajectories.
- pitch
- rhythm
- meter
- timbre / synthesis parameters (e.g., FM parameters)
- dynamics
- tempo
- texture
- many, many others
- plan/score your composition somehow, pay attention to the above, and especially to the control of timbre
- take advantage of the timbre, time-varying control, and "bleepin'"/note/pitched event capabilities you've developed in part 1
- write ChucK programs to generate the different passages/sections/layers; for each, run/record the program multiple times, tweak parameters, and choose the best result for each part.
- put them together in audacity/ardour, or a bigger ChucK program (final audio file - wav)
Deliverables
turn in all files by putting them in your Library/Web/220b/hw1/ directory, and then linking to them from your Library/Web/220b/index.html
- 1) your static timbres (part 1): 3 chuck files
- 2) your time-varying timbres + bleeps/bloops (part 1): 3 chuck files + 1 bleepin' chuck file
- 3) your musical statement (part 2): chuck files + final mix (.wav file)
- 4) a short README text (readme.txt) file that:
- conveys your ideas/comments in constructing each program
- contains instructions on running your programs
- describes any difficulties you encountered in the process
- 5) your index.html should link to these files (optionally, you can include your README directly in your index.html)
