As discussed in class, here is a brief video showing the use of MIDI dummy clips in Live to store envelopes to automate parameters in another track. Here, as in class, I am automating a "fade out" of the master volume.

http://youtu.be/-rI4FvYzdOA

Here, too, is a more advanced look at the idea including the effects rack situation I mentioned today in answer to a question and, notably, the use of dummy audio clips.

http://www.youtube.com/watch?v=P_jwM9sbaKo

And still more...

http://abletonlife.com/a-detailed-guide-to-dummy-clips-in-ableton-live

Since there has been both technical trouble and confusion about local and networked storage on the studio computers, particularly finding the location to hand in your assignments, I updated the login so it does not require a password, only that you login as "Guest". See the updated and accurate FAQ for details.

And for clarity, below is a screenshot of the currect Desktops, showing 1) The local Sound disk where you can create a working folder for yourself for ongoing work and 2) The Network Drive where you can hand in assignments. I will be keeping a close eye on things between now and Monday to be sure any technical problems have been corrected.

Does anyone know of a good mixing board abstraction for pd that they'd be willing to share?  

I realize I could (and might have to) make one myself, but....

Thanks!

1. Ableton Live and dummy clips:

"Dummy clips, four different methods"

--> Part I

--> Part II

"Dummy clips tutorial"

--> Tech Tips

"MIDI dummy clips over the IAC bus"

--> MIDI clips over IAC

2. Subversion tools, three audio applications (Auto DJ, Scrambed Hacks, and Soundspotter)

--> AutoDJ by Ross Anderson

--> Scrambled Hacks and his Sydney Performance

--> Soundspotter application by Michael Casey

3. Copyright and the Creative Commons

--> Lawrence Lessig's TED presentation (your required viewing!)

Have a great holiday break!!

Following up on today's lecture and demostration of various software and hardware implementations for music, I wanted to provide some links. First, to PureData (PD) and JACK which we discussed today and last Tuesday, I recommend downloading "PD-extended", a version of PD that includes user-contributed additions.

See my links to PD and JACK at the top of the "Free Software" page at the right. This page also links to dozens of other free software tools that might be of interest.

PD-extended download (All platforms)

Help for PD is, Like Ableton, built roght into the application (Help --> Browser...) but there are many resources for PD on the web, especially useful are the FLOSS manuals, including both documentation and examples, found here.

Information on the OSC protocol is best viewed here, although there are many other sources. In particular, this one on the basics of OSC with PD.

TouchOSC is available on the iPad or iPod/iPhone as well as for Android and can be downloaded (free) from their respective App "Makets/Stores".  Details and documentation are available here including example patches for PD, Abelton Live, and other software such as Max/MSP, and MIT's Processing (Video, Sound, etc).

The TouchOSC Editor which I used to build TouchOSC interfaces on my laptop is also free and can be downloaded for Mac, Windows, and Linux here (middle of the page).

Finally, the videos I showed in class from former 1421 and 2421 student Nathan Ward are viewable on YouTube. Search "Wireless wearable accelerometers" or view the following links:

http://www.youtube.com/watch?v=bHBbCMc-DyQ

http://www.youtube.com/watch?v=psPFEq8dUz4

Today in class we spoke about traditional song form.  More information about 32-bar song form (AABA) can be found here:

http://en.wikipedia.org/wiki/Thirty-two-bar_form

http://www.musesmuse.com/00000020.html

These are just quick examples, there are many others. In the case of popular songs, you might also think about form in terms of "verse-chorus". If this is a more familiar way to analyse a song, that's fine.  I would encourage you, in any case, to apply this sort of aural analysis to the music you listen to every day.

Recall on of the the central axioms of song form (and of many other forms): using contrasting material to enhance/enliven/invigorate the original "A" material.  As you write your own first songs and develop an idea you care about, think too about material that works in contrast!  Variety is the spice of life....

I also spoke about the production and "orchestration" of the classic Police song "Every Breath You Take", looking at specific sonic details (panning, effects, etc), instrument choices, and addition or subtraction of timbres, to illustrate ways of accentuating form.  An account of the recording and composition process for this song--relayed by the original recording engineer and producer, Hugh Padgham--can be found here:

http://www.soundonsound.com/sos/mar04/articles/classictracks.htm

As you review the history of this song, try listening to it again (available online from several sources) and hearing the production, the use of instruments, the addition and subtraction of ideas, etc, that contribute to its overall structure and vitality. Try then, to apply this same listening process to other musics you know. What makes them unique and drives them forward? Are there things in the mix that you hear that you didn't hear before. Why are they there, what do they do for the music? Etc.

Studio access with your ID's should be in place now.  The online signup will be active tonight but is not yet in place. Thanks for your patience. When it is up, if you need help remembering the procedure for signup, please see the FAQ (link above). I will update this post when the signup system is active.

Professor Ernste

UPDATE: All names have been added to the online signup system.  Please let me (Professor Ernste) know if you are till having trouble signing up for times.