Re: Methods of Creation / Setup


Subject: Re: Methods of Creation / Setup
From: Kevin Austin (kevin.austin@videotron.ca)
Date: Sun Sep 18 2005 - 13:30:30 EDT


May I also recommend time spent finding out about articulatory phonetics:

http://en.wikipedia.org/wiki/Articulatory_phonetics

The field of articulatory phonetics is a subfield of phonetics . In
studying articulation, the phonetician is attempting to document how
we produce speech sounds. That is, articulatory phoneticians are
interested in how the different structures of the vocal tract, called
the articulators (tongue, lips, jaw, palate, teeth etc.), interact to
create the specific sounds.
===========================================================

The study of your own voice has many associated values, among them
being that you may feel you are familiar with it, and it is something
you can do inside your own head, any time, day or night. It's also
wonderful ear-training as hearing vocal tract resonances (formants)
will sharpen (from the inside) your perceptual acuity, and IME,
perceptual acuity is at the base of the process of sonic selection.

The model I propose for working is:

   SOURCE --> PROCESS --> OUTPUT

This can be echoed and modified, but I have found it to be a useful
conceptual model for micro through macro organization.

Reading downwards (in graphical form):

  SOURCE
     |
     |<-------
     | |
     | |
     V |
  PROCESS |
     | |
     | (feedback)
     V |
   OUTPUT |
     | |
     |------->
     |
     V

As mentioned, you could consider using only your own voice. With a
wave editor you can learn about microediting individual samples, the
nature of oscillation (voiced) and statistical (noise / unvoiced)
sounds, and mixed sounds (voice consonants), the visual
representation of static and transitory sounds, noise (in the form of
unwanted signal), microstructure and microgesture, the nature of
"same" (compare six /s/ sounds), families of sounds, features of
boundaries, information loss (where is that first /t/ in night
time?), substitutions (glottal stops used as segmentation markers --
"going downtown"), pacing, intonation curves, psychological /
personality profiles, and all of this before hitting the level of
"the word".

At 23:07 -0400 2005/09/17, Morgan Sutherland wrote:
>Seeing as I'm going to be embarking on this music journey (for those
>not in the know, I'm taking a self directed class at school focusing
>on DSP processing) I'm going to have to make some decisions.
>
>For a good part of the year I'll probably be spending time reading The
>Computer Music Tutorial and playing around with Soundhack and
>Argeiphontes Lyre and other similar software, but eventually I'm going
>to have to start actually making some music. This poses the question,
>how will I do it? What will my work flow look like? What will be the
>source of my audio?
>
>My setup has never been oriented towards electoacoustic music, so it
>would be helpful to me if you offered some ideas. What is your setup
>like? Your work flow? What equipment do you use. What would you
>recommend.
>
>There's always the possibility that I could just do what feels
>natural, or try a number of things and pick the one I like the most.
>
>Gracias.



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