Scribd Logo
Upload

Welcome to Scribd!

  • 40 views

    09lab9 PDF

    Uploaded by

    Walid_Sassi_Tun
    This document provides instructions for a lab assignment on dynamic and parallel processing. It discusses: 1) Using parallel processing by applying different effects like filtering to copies of an audio file on separate tracks and dynamically controlling the volume of each track over time. 2) The example uses a high pass filtered version, a bandpass filtered version, and the original of a subway audio file on three tracks, with the volumes cross faded between the tracks for variation. 3) Parallel processing allows dynamically changing the sound by varying filters and balances between the original and processed versions, while maintaining a single sound object.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd

    09lab9 PDF

    Uploaded by

    Walid_Sassi_Tun
    40 views3 pages
    This document provides instructions for a lab assignment on dynamic and parallel processing. It discusses: 1) Using parallel processing by applying different effects like filtering to copies of an audio file on separate tracks and dynamically controlling the volume of each track over time. 2) The example uses a high pass filtered version, a bandpass filtered version, and the original of a subway audio file on three tracks, with the volumes cross faded between the tracks for variation. 3) Parallel processing allows dynamically changing the sound by varying filters and balances between the original and processed versions, while maintaining a single sound object.

    Original Title

    09Lab9.pdf

    Copyright

    © © All Rights Reserved

    Available Formats

    PDF, TXT or read online from Scribd

    Did you find this document useful?

    Is this content inappropriate?

    This document provides instructions for a lab assignment on dynamic and parallel processing. It discusses: 1) Using parallel processing by applying different effects like filtering to copies of an audio file on separate tracks and dynamically controlling the volume of each track over time. 2) The example uses a high pass filtered version, a bandpass filtered version, and the original of a subway audio file on three tracks, with the volumes cross faded between the tracks for variation. 3) Parallel processing allows dynamically changing the sound by varying filters and balances between the original and processed versions, while maintaining a single sound object.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    40 views3 pages

    09lab9 PDF

    Uploaded by

    Walid_Sassi_Tun
    This document provides instructions for a lab assignment on dynamic and parallel processing. It discusses: 1) Using parallel processing by applying different effects like filtering to copies of an audio file on separate tracks and dynamically controlling the volume of each track over time. 2) The example uses a high pass filtered version, a bandpass filtered version, and the original of a subway audio file on three tracks, with the volumes cross faded between the tracks for variation. 3) Parallel processing allows dynamically changing the sound by varying filters and balances between the original and processed versions, while maintaining a single sound object.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    of 3

    LAB NINE

    REVIEW
    Understand some methods of moving from sound object to gesture,
    such as combining forward and backward sound objects;
    combining similar transformations; and creating and varying a
    rhythmic loop.

    DYNAMIC PROCESSING
    By now, you will have begun to realize the importance of variation
    and change in maintaining a listeners attention. This concept has
    been presented in relation to different processing methods, gestural
    shaping, and larger-scale compositional form and structure.
    The importance of variation also extends to processing, even
    when it is applied to a given sound object. This is one of the big differences between the way processing is considered in commercial
    music and the way composers of electroacoustic music think about
    it. Take the application of a filter, for example: in most commercial
    music, the only reason you use a filter is to remove some unwanted
    frequency, such as hiss or rumble. This unwanted frequency would
    most likely be found throughout the recording, and changing the
    parameters during the audio file is not considered necessary. But
    recognizing that a change in time, including change of a parameter
    such as a cut-off frequency, creates interest, electroacoustic
    composers often desire such dynamic variation.
    Lab Eleven will introduce the way ProTools and Audition
    handle dynamic processing. Both use rather complicated methods
    that require a fairly thorough understanding of signal routing. An
    easier, but more limited, way to achieve dynamic processing uses
    parallel processing.

    185

    Lab Nine

    TASK: PARALLEL PROCESSING


    In parallel processing, you apply one or more processes to a sound
    object at the same time. In the classic analogue tape studio, it
    amounted to splitting a signal, sending the split signals to various
    signal processors, and then routing these signals back to the mixer.
    The various levels of the different processes were then controlled
    dynamically during mixing.
    The actual processing was, in fact, not dynamic; no change was
    made to any parameters in any of the processes. What was dynamic
    was the volume relationships between the different processes.
    To do parallel processing in ProTools, you simply use two
    tracks, one that contains the original file and one that contains the
    processed file.
    Setting Up a Session/Project

    In a new session/project, import from the Soundscapes and


    Sound Materials CD track 48, Subway, (which was used in
    Lab Six).

    Process the File

    Use a High Pass Filter (or Low Shelf with cut) to remove most
    of the frequencies below 2 kHz. You might have to normalize
    the region to regain the amplitude lost through the filtering
    process.

    Applying a Second Process

    In a second track, process another copy of the original file.


    This time use a bandpass filter (preferably with resonance) to
    boost the frequencies around 400 Hz.

    Because this process boosted frequencies, there is no need to


    normalize the file. In fact, it might be verging on distortion.
    Applying a Third Process

    In a third track, process another copy of the original file. This


    will be your original track.

    All three regions should begin at time zero, and they all
    should be the same length.

    186

    Lab Nine

    Create a dynamic volume relationship between the three


    tracks.

    Here is one possible example (notice that I never have all three
    versions playing at full amplitude at the same time can you figure
    out why?):

    Parallel presentation of multiple processes.


    In the example, the original and the two processed versions
    cross fade amongst themselves. The result is a continually changing
    sound that balances variation (the changing filters) and unity (only
    a single sound object is actually heard).

    TO DO THIS WEEK
    After finishing Creative Project One, relax for a few days. The
    next project will build upon this one, so you will need a break.

    187

    You might also like