20 credits at level HE4
This unit explores the systems and techniques used to create the sounds involved in contemporary music production. It develops skills in manipulating currently available technology as well as sufficient theoretical background to cope with new technologies as they emerge. It provides a theoretical platform on which is built the practical familiarity with the technology and the artistic discrimination needed within the music production field.
Techniques of synthesis, including subtractive, FM, wavetable and granular. Techniques of sampling, including recording and editing of samples, multi-sampling and dynamic triggering.
Steinberg Cubase SX3;
Propellerhead Reason 2.5;
A combination of lectures, seminars, demonstrations and in-class course work will be used to introduce the subject matter and to develop understanding. Students will be encouraged to critically analyse examples in peer review sessions.
The major assignment will define a particular application to which students will be required to devise an effective solution appropriate to its purpose.
Formal lectures (20);
In-class course work (20);
Unsupervised practicals (30);
Directed reading (25);
Directed research (30);
Assignment preparation and implementation (60);
Total 200 hours.
when you have successfully completed this module you will:
to demonstrate that you have achieved the learning outcome you will:
|1.||Know and understand the mathematical and theoretical basis of synthesis and sampling methods.||
1. Explain methods for, and the limitations of, the harmonic synthesis of musical instrument timbres.
2. Explain the theoretical basis, practical systems, and potential for complex wave synthesis.
2. Discuss the necessity for sample-based synthesis and explain sampling theory.
3. Discuss the importance to natural realism of note anatomy in audio synthesis and explain different approaches in achieving this.
|2.||Know and understand the underlying principles of synthesisers and be able to demonstrate their operation.||
1. Use effectively and critically assess the user merits of a range of synthesisers.
2. Configure, use, and critically assess MIDI and non-MIDI systems for external control of synthesisers.
3. Configure, use, and critically assess systems for externally programming synthesisers.
4. Implement, use and critically assess software synthesis systems.
|3.||Be able to demonstrate knowledge, understanding, and practical abilities with samplers.||
1. Use effectively and critically assess the user merits of a range of samplers.
2. Configure, use and critically assess MIDI systems for external control of samplers.
3. Perform external editing of sampled sounds using appropriate software.
4. Iimplement, use and critically assess software sampling systems.
Your achievement of the learning outcomes for this module will be tested as follows:
|Description||An essay on the historical developments in synthesis and sampling.||A compositional project on the use of synthesised sounds.||The configuration of a sampler.|
There are no prerequisites for this module.
No restrictions apply.
Bates J. The Synthesiser (Oxford University Press, 1988).
Chamberlain H. Musical Applications for Microprocessors (Hayden Book Co, 1980).
Chowning J. and Bristow D. FM Theory and Applications by Musicians for Musicians. (Yamaha Music Foundation, 1986)
De Poli G, Piccialli A and Roads C. Representations of Musical Signals (MIT Press, 1991),
Dodge/Jerse -Computer Music (Schirmer Books, 1985),
Emmerson. The Language of Electroacoustic Music (Macmillan Press, 1987).
Mott. Sound Effects (Focal Press, 1990).
Roads C. The Computer Music Tutorial (MIT Press, 1996).
Rumsey F. MIDI Systems and Control (Focal Press, 1995).
Russ M. Sound Sampling and Synthesis (Focal Press, 1996).
Computer Music Journal.
Sound on Sound.
Suggested websites (correct at time of publication);
www.sospubs.co.uk (Sound on Sound Magazine)
www.emusician.com (Electronic Musician Magazine)
www.keyboardmag.com (Keyboard Magazine)
www.synthzone.com (Links to all sites related to Sound and Vision)
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