- Experimental/Abstract Film and Synaesthetic Phenomena 1725 - 1970
- Luigi Russolo
- Alexander Scriabin, Prometheus
- Dziga Vertov, Laboratory of Hearing
- Dziga Vertov, Man with a Movie Camera (1929)
- Dziga Vertov, Enthusiasm, 1931
- Werner Graeff, Komposition I, Bauhaus, 1922
- Viking Eggeling, Symphonie Diagonale
- Hans Richter, Rhythmus 21 (1921)
- Lichtspiel Opus I, Walther Ruttmann(1921)
- Walter Ruttman, Weekend
- Oskar Fischinger, An Optical Poem(1938)
- László Moholy-Nagy: ABC in Sound / Tönendes ABC (1933) | BFI National Archive
- Norman McLaren, Synchromy
- John & James Whitney, "Five Film Exercises" Film 1 (1943)
- Karheinz Stockhausen, Kontakte
- Peter Kubelka, Adebar(1957)
- Peter Kubelka, Schwechater(1958)
- Peter Kubelka, Arnulf Rainer
- Michael Snow, Wavelength (1967)
- Sound Pattern in Nature
- Chladni Pattern / Chaldni Figure
- Synthesizer & Audio interface
- Before Recording
- ⭐Learning synthesizer with Ableton Live
- Synthesizer Basics
- Type of Synthesizer
- Mother-32 semi-modular synthesizer
- MOTU 896mk3 Audio Interface
- VCV Rack - Virtual Eurorack Daw
- Handmade Electronic Music
- Circuit Bending
- Breadboard Synthesizer
- Who Killed the American Demoscene?
- Black Midi
- Procedural Audio & Algorithmic music
- What is Procedural Audio?
- What is Algorithmic composition?
- Max Msp Tutorial
- BEAP Tutorial
- Making Music with Ableton Live
- Sound Artist
- Digital Media Artist & Creative Projects
- Forum ＆ Blog
- Application / Software
- Awesome music projects
Experimental/Abstract Film and Synaesthetic Phenomena 1725 - 1970
A short history of synaesthesia of music and visual phenomena which started when Isaac Newton in the 18th century compared the spectral colors he had produced by splitting up the sun’s light into the spectrum and the musical notes of tempered scale.
Alexander Scriabin, Prometheus
Dziga Vertov, Laboratory of Hearing
Dziga Vertov, Man with a Movie Camera (1929)
Dziga Vertov, Enthusiasm, 1931
Werner Graeff, Komposition I, Bauhaus, 1922
Viking Eggeling, Symphonie Diagonale
Hans Richter, Rhythmus 21 (1921)
Lichtspiel Opus I, Walther Ruttmann(1921)
Walter Ruttman, Weekend
Oskar Fischinger, An Optical Poem(1938)
László Moholy-Nagy: ABC in Sound / Tönendes ABC (1933) | BFI National Archive
Norman McLaren, Synchromy
John & James Whitney, "Five Film Exercises" Film 1 (1943)
Karheinz Stockhausen, Kontakte
Peter Kubelka, Adebar(1957)
Peter Kubelka, Schwechater(1958)
Peter Kubelka, Arnulf Rainer
Michael Snow, Wavelength (1967)
Sound Pattern in Nature
Cymaticsis a subset of modal vibrational phenomena. The term was coined by Hans Jenny (1904-1972), a Swiss follower of the philosophical school known as anthroposophy. Typically the surface of a plate, diaphragm, or membrane is vibrated, and regions of maximum and minimum displacement are made visible in a thin coating of particles, paste, or liquid.Different patterns emerge in the excitatory medium depending on the geometry of the plate and the driving frequency.
The apparatus employed can be simple, such as the Chinese spouting bowl, in which copper handles are rubbed and cause the copper bottom elements to vibrate. Other examples include the Chladni Plateand the so-called cymascope.
Chladni Pattern / Chaldni Figure
Found by When resonating, a plate or membrane is divided into regions that vibrate in opposite directions, bounded by lines where no vibration occurs (nodal lines).
Synthesizer & Audio interface
- HT 280 Headphone: flat EQ for audio recording
- Set Zoom recorder recording level: 75
- A XLR connector, TS vs TRS, midi cable
⭐Learning synthesizer with Ableton Live
Learn about synthesizers via Ableton's interactive website. Play with a synth in your browser and learn to use the various parts of a synth to make your own sounds.
- Oscillators振盪器: It produces a raw, unfiltered sound wave like sin ton, saw tone, square tone, and triangle tone. In a synthesizer, the pitch of the oscillator is modified by a control voltage (CV) generated by a sequencer or keyboard.
- Amplifier擴大器: Often seen abbreviated as VCA (voltage-controlled amplifier) and DCA (digitally controlled amplifier), the amplifiers are the components that determine exactly how much signal from the oscillator gets passed on to the next part of the synthesizer. In most analog and analog-modeling synthesizers, each oscillator is fed into an amplifier that keeps the oscillator signal completely attenuated until the amplifier is stimulated by an incoming control voltage (CV). That way, we only hear the oscillator when the amplifier is activated somehow. That’s how we get separation between notes rather than a constant tone.
- Filter濾波器: A filter is a module that removes certain frequencies from the audio signal, much like an equalizer on a stereo or a recording console. The most commonly found filter types on an analog synthesizer are lowpass (LP) filters, which filter out high frequencies and let low frequencies pass (hence the name) and highpass (HP) filters, which filter out low frequencies and allow high frequencies to pass. You may also see bandpass (BP) and all-pass filters on certain synths.
- Envelope: An envelope generator is a module that alters incoming voltage over time, it shapes the evolution of sounds. You can control the amplifier by shaping the envelope that affects the signal level, which changes the attack time (A), decay time (D), sustain level (S), and release time (R), in a section often labeled amp EG (amplifier envelope generator). Envelope controls are typically labeled ADSR.
- A: Attack. This is the time it takes for the envelope to reach its maximum value after the note begins its attack. This audio sample begins with the filter envelope attack value set to 0.00ms, and the attack will increase to about 150ms over time, then fall back down to zero.
- D: Decay. This is the time it takes for the envelope to fall from maximum value to the sustain level. The decay stage does a lot to define whether a sound is snappy and transient or long and flowing. In this sample, the filter envelope begins with a snappy decay value of 150ms, goes up to 3 seconds, and backs down again to almost zero.
- S: Sustain. This one is tricky, because it’s the only part of the envelope that’s a measure of amplitude rather than time. The sustain level is the value at which the envelope rests after the decay stage, until the key is released. This is often expressed as a percentage of maximum value. When it comes to amplitude and filter envelopes, patches emulating plucked or struck instruments like drums or mallets would have zero sustain. Bowed instruments and brass and woodwind sounds, on the other hand, would have a higher sustain value.
- R: Release. Release is the time it takes for the envelope to fall back to zero after the key is released (or technically, after the gate signal ends). Think of an acoustic guitar — this instrument would have a very sharp attack, a short decay stage, zero sustain, but a long release when strummed as the strings slowly lose energy and volume. On the other hand, a marimba would have a much shorter release time. An aggressive modern synth bass or lead patch might have essentially zero release.
- Gate and Trig
Type of Synthesizer
10 Types of Synthesis, Explained: FM, Vector, and More
Editor's note: In the video above, we demonstrate the 10 types of synthesis discussed in our article below using primarily an Arturia MicroFreak, sometimes with the addition of an Elektron Digitakt and a custom Eurorack rig featuring an Intellijel Planar. Hear examples of FM synthesis, vector synthesis, and more above.
- Subtractive Synthesis減法合成器
- FM Synthesis (frequency modulation): a digital form of synthesis whereby one waveform modulates another. FM starts with a pure sine wave, called a carrier, and modulates it with another (inaudible) sine wave, called the modulator. This modulation creates harmonics in the audible carrier wave. Combinations of multiple carriers and modulators, called algorithms, create more complex sounds.
- Sample-Based Synthesis
- Wavetable Synthesis
- Vector Synthesis
- Additive Synthesis 加法合成
- Spectral Synthesis
- Physical Modeling
- Granular Synthesis
- West Coast Synthesis
Mother-32 semi-modular synthesizer
Mother-32® is an intuitive and expandable semi-modular synthesizer that adds raw analog sound, powerful sequencing and extensive interconnectivity to any creative, electronic or modular ecosystem. No cables are required for swift, inspired music creation and exploration. When you're ready, enter the vast sonic realms of modular synthesis.
MOTU 896mk3 Audio Interface
The 896mk3 audio interface delivers advanced design, high-end performance, superb sound, and universal "hybrid" FireWire/USB2 connectivity to your Mac or Windows computer. As a hybrid audio interface, the 896mk3 provides flexible connectivity to any Mac or PC via FireWire or high-speed USB 2.0, with eight channels of pristine 24-bit 192 kHz analog recording and playback, combined with sixteen channels of optical digital I/O, stereo AES/EBU, S/PDIF and separate analog main outs.
MOTU is an engineering-driven music technology company passionately driven to create products that help you produce amazing music. MOTU's award-winning hardware and software are used by top professionals every day on hit songs, mega tours, primetime shows and blockbuster films.
VCV Rack - Virtual Eurorack Daw
👉Download here: https://vcvrack.com/
Handmade Electronic Music
Hacking Through Contemporary Electronic Music
With electronic music comes the possibility of hacking instruments. How does hacking affect musical instruments and the ways of playing them? In this interview, Nic Collins, a pioneer in musical hacking, describes his journey at the crossroads of experimental music, computer music and sound art. This interview was published in partnership with Volume!
Circuit bending is the creative, chance-based customization of the circuits within electronic devices such as low-voltage, battery-powered guitar effects, children's toys and digital synthesizers to create new musical or visual instruments and sound generators.
Simple Ways to Circuit Bend a Toy
Simple Ways to Circuit Bend a Toy: I want to show some of the modifications you can do to any toy to turn it from what might simply be an annoyance to a tool for glitchy, noisy awesomeness. The techniques here are pretty easy--even if you don't have much experience with electronic...
Building A Synth On A Breadboard
Building an analog synth is a challenge, but with the [Tymkrs] protosynth, it's easier than ever. It's a 25-key keyboard attached to a stack of solderless breadboards to make analog synth prototyping a snap. Earlier, [Tymkrs] acquired a whole bunch of solderless breadboards and decided to put them to use by making a component-level modular synth.
The demoscene is an international computer art subculture focused on producing demos: self-contained, sometimes extremely small, computer programs that produce audio-visual presentations. The purpose of a demo is to show off programming, visual art, and musical skills. Demos and other demoscene productions are shared at festivals known as demoparties, voted on by those who attend, and released online.
Skinner is a collection of special effects that use vertices of an animating skinned mesh as emitting points. It uses a special replacement shader to convert vertex positions into GPU-friendly data, and thus it avoids spending extra memory and CPU time for handling them (uses GPU resources instead).
Who Killed the American Demoscene?
Inside a Transnational, 12-Hour Coding Hackathon on a Train
There is no shortage of creative coders in New York City. This was clear as soon as I pulled open the door to the basement of Babycastles, a gallery for independent video games in Manhattan, to reveal a room packed with people swaying to the sounds of algorithmically generated music.
Introducing MIDI 2.0
After nearly 40 years everybody's favourite digital music protocol is about to get an upgrade... At the time of writing, we're approaching the 37th anniversary of MIDI, the Musical Instrument Digital Interface. At the time of its launch it was ground-breaking: connect two keyboard instruments together with a simple cable, and the keyboard on one can play the sounds on another!
This Exists - Black MIDI
The latest episode of Aux.tv's This Exists takes a look at Black MIDI - a genre that gets its name because the music is so densely sequenced with notes that, written out, it approaches solid black: Black MIDI music recalls the work of classical composer Conlon Nancarrow.
MidiEditor is a free software providing an interface to edit, record, and play Midi data. The editor is able to open existing Midi files and modify their content. New files can be created and the user can enter his own composition by either recording Midi data from a connected Midi device (e.g., a digital piano or a keyboard) or by manually creating new notes and other Midi events.
Procedural Audio & Algorithmic music
Procedural Audio is often mistaken for Procedural sound design, however where Procedural audio is capable of generating it's own sound, Procedural Sound Design relies entirely upon recorded sound, and is not capable of generating sound on its own. According to Andy Farnell who specialises in digital audio processing: "Procedural audio is sound qua process, as opposed to sound qua product. Be- hind this statement lies a veritable adventure into semiotics, mathematics, computer science, signal processing and music. Let us reformulate our definition in verbose but more precise modern terms before moving on. Procedural audio is non-linear, often synthetic sound, created in real time according to a set of programmatic rules and live input. To further define it let’s explain it in terms of linear, recorded, interactive, adaptive, sequenced, synthetic, generative and AI audio" (Andy Farnell, 2007)."
What is Algorithmic composition?
Algorithmic composition is the technique of using algorithms to create music. Algorithms (or, at the very least, formal sets of rules) have been used to compose music for centuries; the procedures used to plot voice-leading in Western counterpoint, for example, can often be reduced to algorithmic determinacy.
Algorithmic Composition: A Gentle Introduction to Music Composition Using Common LISP and Common Music
This book integrates three subject areas: Common LISP, Common Music, and algorithmic composition. The purpose of combining these three subjects into one book is to assist readers who are interested in composing music using computers. The author assumes the reader has very little experience with Common LISP or Common Music.
Algorithmic Music: An Experience Composing with WolframTones - MIT Comparative Media Studies/Writing
Around here we're big fans of computational art, with our best-known work being that of professor Nick Montfort. Nick makes algorithmically generated poetry and visual art, and when I did a podcast with him last year, I needed music for the intro and wondered if there was a way to generate music algorithmically too.
Max Msp Tutorial
20 Objects - A Pragmatic Method for Learning Max 7
This course outlines a new model for teaching (or self-learning) Cycling '74's Max. It offers a pragmatic approach that limits the needs for memorization and requires a lot of hands-on patching. We focus on 20 objects as bellwether examples of Max functions, adding "friend" and "related" objects to round out the programming experience.
Max includes a new set of tools developed by Matthew Davidson for his work as a Berklee School of Music instructor. The idea is to have a set of objects that would be as easy to use as the Vizzie modules, but would mirror some of the functionality of a Eurorack modular synthesizer. The result is BEAP: the Berklee Electro Acoustic Pedagogy - a fancy way of saying “A Modular Synthesizer in Max!”
Tutorial: A Few Minutes with BEAP, Part 1 | Cycling '74
Max 7 includes a new set of tools developed by Matthew Davidson for his work as a Berklee School of Music instructor. The idea is to have a set of objects that would be as easy to use as the Vizzie modules, but would mirror some of the functionality of a Eurorack modular synthesizer.
Making Music with Ableton Live
Get started | Learning Music (Beta)
In these lessons, you'll learn the basics of music making. No prior experience or equipment is required; you'll do everything right here in your browser. To get started, check out the boxes below. Each one contains a small piece of music. Click a box to turn it on or off.
Ideas and Offers for Making Music at Home
For now, we're apart. But the shared experience of music-making is something that can keep us together in spirit. All of us at Ableton are now working from home as well, and music - now more than ever - is helping us stay on track.
KRETS - Modular Audio Environment
Modular audio environment Ideas? Feedback? Questions? The Krets Forum is open for discussions, feedback, feature requests, bug reports, general help and update news. Go to the Krets Forum KRETS is a modular environment that can be used in any DAW compatible with the AudioUnit or VST format.
- Samson Young
- Cevdet Erek
- Carsten Nicolai
- Florian Hecker
- Susan Philipsz
- Haroon Mirza
- Tarek Atoui
- Christine Sun Kim
- Camille Norment
- Janet Cardiff
- Lawrence Abu Hamdan
- Thessia Machado
- Alvin Lucier - I'm sitting in a room
- Laurie Anderson
12 Sound Artists Changing Your Perception of Art - artnet News
For some, abstraction might mean non-figurative painting, but today's hottest emotive medium is so abstract it can't be seen, touched, or felt. There's no arguing that sound art is having a moment. Some artists explore sound in its pure state, simultaneously bridging and muddling barriers between sound, noise, and music in the contemporary or historical sense.
List of sound artists
This is a list of sound artists. Sound art is a diverse group of art practices that considers wide notions of sound, listening and hearing as its predominant focus.
Digital Media Artist & Creative Projects
- La Monte Young - Dream House
- Brain Eno - 77 Million Paintings
- Anthony McCall
- Gabriel Dunne - NAAGXY
- Peter Burr
- Robert Hodgin
Forum ＆ Blog
- Sounds and Gears
- Music Radar
Application / Software
Awesome music projects
A categorized collection of awesome music libraries, tools, frameworks and software. Contributions and suggestions are always welcome! Please take a look at the contribution guidelines and quality standard first. Thanks to all contributors, you're awesome and wouldn't be possible without you! Audacity - a free, cross-platform digital audio editor.