Session 4: Effects Units.

Today in EMP we were learning how to construct our very own effects unit, starting with the fact that at the heart of every one, is compression and distortion. I also learnt about our 'threshold of perception', and how for humans this is between 5 and 10 miliseconds per second. Anything below 10, begins to fuzz and sound distorted. In these cases,we must use delays so as to phase the sound and make it clearer. this technique is commonly known as the 'All pass filter'. 

Wwe also developed our knowledge of waveforms, by learning that we perceive the 'Sine' wave as pure, because it has a continuity that, for instance, the sawtooth wave does not. The peaks in the Sawtooth disturb its continuity and cause it to sound more disjointed. With Sine waves, the closer the waves are to one another, the brighter or 'purer' the sound.

We then began looking at the Lexicon plate reverb unit, a simple piece of software, but technically one of the best sounding in the business. We then examined the steps needed to create a guitar effects unit. We begin by sending the signal into a compressor. Then once we had our signal as loud as possible, we have to feed it into the distortion or degrading unit. 

We then filter the signal, as the distortion creates a lot of harmonics and we need to be able to control the sound. Pere told us that it was always useful to create a bypass for each aspect of the effects unit, thus giving the user the choice for each individual effect. 

Once the first filter is put in place, we create the all pass filter, or 'phaser', then the modulating delay, or 'flanger'. I discovered that the 'groovebox delay' gives the user the ability to mess around with the wave form, making it longer or shorter. 

Finally, we send the signal through to the output system. We learnt another little trick that would tidy up our patches and make them more professional looking. We were told that switches create discontinuation, and so to avoid this, rather than a switch we should have a slider that goes from 0-10. 

I felt very happy with todays session and am confident that my own project will be based around the creation of an effects unit. This is something that I have an interest in and can not wait to get started with.

Session 3: Looping

This week we learnt how to loop samples using Max 6.

However, we started the session by learning some more little tricks to help us use the software. Firstly, we learn how to track a cable, in case our patch is not producing sound. We were told that if the patch is not working, the probe will display a 0. Pere also stressed that we should never change the signal vector on our patch, as this would most likely stop it from working. 

We then began importing our samples into the patch so that we could begin looping. We did this by adding objects called 'groove~'. Once we had our samples in our patch, we began looping them and manipulating the speed at which the sample was played. I found that if the speed is below 0, then the sample will be played in reverse. 

As I am relatively inexperienced in the field of Music Programming, I also improved my knowledge of Bit and Sample rates, as well as waveforms. I learnt that the Sample rate is the number of times a second the sotware takes a sample of your track, and that the bit rate is the number of bits you put in to be samped a second. I therefore found that the lower your bit rate, the more edged your wave is, thus making it sound more distorted. Similarly, the higher the bit rate on a track, the clearer and cleaner it sounds. 

Gradually, I am becoming more and more comfortable using the software Max 6 and am growing accustomed to the various keyboard short-cuts and tricks.  

Experimental Music Programming : Session 2.

This week in Experimental Music Programming, we were learning about Analog Sounds and the waveforms that they produce, as well as improving our knowledge of the software 'Max 6'.

We began by learning that Analog Sounds often appear dirtier and rougher, as they are susceptible to outside noise. This means that they sound slightly distorted and gritty.

We also learnt about the various oscilators that are used in 'Max 6', 'triangular', 'square' and 'sawtooth'. Although technically 'Sawtooth' is not an oscilator, it is a processor. The difference between the three is that the 'Triangular' and 'Square' oscialtors can not work independently, they must use 'Sawtooth' as a reference.

The waveforms are named so due to the shapes they resemble when produced, caused by the differentiating deviations from 0. The sawtooth and square waves are commonly used in music that use subtractive analog and virtual analog music synthesizers.

Once we opened up 'Max 6', we learnt how to turn a pre-existing patch into a sub-patch, which would prove to be very helpful once we'd started creating our final projects, as it would allow us to keep our work tidy and professional looking.

Finally, we learnt how to import a sample into our patch, and how to see that sample in waveform, which would ensure that we had imported the correct one.

Though at this time I have not decided on a final project, I was assured by Pere that this was not neccessary just yet, as we are still in the preliminary stages of Experimental Music Programming and are still getting used to the software. 

Introductory Lesson.

On Wednesday the 26th of September, we had our first taste of Experimental Music Programming. We were introduced to 'Max 6', a piece of visual programming software that I had never previously used. 

However, after getting accustomed to the layout and short-cut buttons, I found that there were numerous similarities between 'Max 6' and another visual programming language, 'Pure Data'. Having used Pure Data for one of my modules last year, I instantly felt far more comfortable using the new software and felt confident in being able to accomplish the required tasks in Experimental Music Programming.

As this was only the first session, we were not required to create anything extravagent. We set up a simple patch involving an on/off button, keyboard, oscilator and audio input/output. We were also taught how to add comments, change colours and gererally tidy up our patches. 

Although I do not have a set idea yet as to what my final project for this unit will be, I am very confident that I will be able to produce an exciting and professional piece of work.

Pod Howard. 01/10/2012