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Electro-Drops blog d'actualité musicale, dubstep, électro, house, mixtapes

Electro-Drops blog d'actualité musicale, dubstep, électro, house, mixtapes
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Note names, MIDI numbers and frequencies Note names, MIDI numbers and frequencies are related here in tables and via an application that converts them. The musical interval between two notes depends on the ratio of their frequencies. See Frequency and Pitch for more details and an introduction to frequency and pitch. An octave is a ratio of 2:1 and, in equal temperament, an octave comprises 12 equal semitones. Each semitone therefore has a ratio of 21/12 (approximately 1.059). By convention, A4 is often set at 440 Hz. This table is reproduced inverted below, i.e. with high pitch at the top. To convert from any frequency to pitch (i.e. to the nearest note and how far it is out of tune, go to the frequency to note converter written by Andrew Botros. How to do the caluation? no = log2(f2/f1). Conversely, one can obtain n, the number of semitones from A4, from n = 12*log2(fn/440 Hz). Similar equations give no, the number of octaves from A4, and nc, the number of cents from A4: no = log2(fn/440 Hz) and nc = 1200*log2(fn/440 Hz).

Robot Koch, Beatmaker polyvalent | JEKYLL & HYDE Les robots se nourrissent de musique et de silence. Voilà la délicate balance qui les fait fonctionner. Vers l’âge de 10 ans j’écoutais les cassettes de Soul et de Funk de ma mère, ainsi que pas mal de trucs de la Motown. Aujourd’hui j’en ai 32, ce qui veut dire que cela fait un petit bout de temps que je fais ça maintenant ! robot koch – gorom sen from robot koch on Vimeo . Je pense que cette définition est parfaite ! Absolument ! Cependant il ne faut pas oublier que les collaborations restent un point essentiel pour un label indépendant. Je pense que le plus important est d’avoir une vision claire de ce qui tu souhaites réaliser, un peu comme pour une mission. Il faut aussi savoir user de tous ses talents de communication pour pouvoir se connecter avec d’autres gens, d’autres artistes, et se construire un réseau fort. Bien sûr il te faut aussi de l’argent, sinon tu ne fais rien ! Mon pote Benski, avec qui j’ai fait la mixtape, a lui aussi son label : . Non car c’est du donnant donnant.

Melodic Step Sequencing with Ableton Push Requirements: Latest version of Live 9 and Push firmware installed Ableton's Push has already revolutionized the hands-on process of composing electronic music with its innovative scaled note entry and drum programming modes. The true beauty of this hardware is that it's designed to continue evolving with future firmware and software updates to Live—and with their latest revision, they've added smooth, MIDI clip-integrated step sequencing. Let's explore. Get Set First things first, we'll need to create a MIDI track in Live or directly from Push. The wide open horizon of an empty step sequencer. Our 64-pad grid is now divided into eight horizontal rows. The top row of pads represents which bar segment we're looking at. The default note setting for the step sequencer is 16th notes, but that can be altered by pressing a different note interval button along the right side of the pad grid. Scale selection—a crucial choice. Sequencing Satori Changing the length of the first chord during playback.

Algorithmic symphonies from one line of code -- how and why? Lately, there has been a lot of experimentation with very short programs that synthesize something that sounds like music. I now want to share some information and thoughts about these experiments. First, some background. On 2011-09-26, I released the following video on Youtube, presenting seven programs and their musical output: This video gathered a lot of interest, inspiring many programmers to experiment on their own and share their findings. It all started a couple of months ago, when I encountered a 23-byte C-64 demo, Wallflower by 4mat of Ate Bit, that was like nothing I had ever seen on that size class on any platform. Some time later, I resumed the experimentation with a slightly more scientific mindset. I chose to replicate the essentials of my earlier 8-bit experiments: a wave generator whose pitch is controlled by a function consisting of shifts and logical operators. main(t){for(t=0;;t++)putchar(t*(((t>>12)|(t>>8))&(63&(t>>4))));} Hasn't this been done before?

Recording Impulse Responses With growing computing power over the last decade, convolution plugins have become commonplace. Some of the most common ones include Audio Ease Altiverb, Logic’s Space Designer, Avid TL Space, Waves IR-1 and McDsp Revolver. They are usually packaged with large and useful libraries of impulse responses (more on what all this means below), but what makes them really powerful is the fact that it is quite easy to record and use your own impulse responses. This not only helps ‘personalise’ your mixes, but is extremely useful in post-production and in the design of new sounds. Each of the above mentioned plugins need slightly different techniques for creating a custom library of impulse responses. This article is a description of the general concepts behind recording good impulse responses and should be easily adaptable to any convolution/de-convolution tool. What is convolution? Convolution is the process where a single sample of a sound is multiplied by every sample of another sound. Tools

Making waves – Open Music Labs’ DSP Shield – Arduino – freeRTOS | feilipu There’s a great new Arduino Uno (pre-R3) Shield available from Open Music Labs. Their Audio Codec Shield is an Arduino shield that uses the Wolfson WM8731 codec. It is capable of sampling and reproducing audio up to 88kHz, 24bit stereo, but for use with the Arduino it is practically limited to 44kHz, 16bit stereo. The Audio Codec Shield has 1/8″ stereo input and headphone output jacks, a single pole analogue input aliasing filter, and 2 potentiometer for varying parameters in the program on the fly. The Open Music Labs provides a some libraries and code examples for use with the Arduino IDE, and also with the Maple IDE. I spent quite some time understanding exactly how the WM8731 worked, and what was needed to make it perform, in a RTOS environment. Never the less, the freeRTOS code is useful to provide serial and I2C libraries to set up the board, and possibly to do some other tasks where possible. This is the example code for a single potentiometer. Like this: Like Loading...

Interfacing with a DAC (Digital/Analog Converter) for Sound Synthesis with the Netduino In previous two posts, I created a midi interface for the Netduino. For kicks, here's what it looks like soldered rather than on the breadboard (and beside it, a shot of the disaster my desk has become during this project. There's actually a Commodore 128 in the rubble to the right): Gladly, I've since cleaned that up. :) The two posts covering the MIDI interface are: When tackling something new, I try and individually prototype the key parts. The next new thing in the Netduino Synthesizer project, is to interface to a 12 bit DAC (Digital to Analog Converter) via a chip-to-chip protocol known as SPI. About SPI When you interface with a chip using parallel communications, you typically have to have one digital I/O pin dedicated to each I/O pin on the other chip. There are several chip-to-chip protocols that help you get past that. About the DAC If you want to output samples of audio, you need a way to convert digital samples to a continuous analog waveform used to drive the speakers. Circuit

D-type Flip Flop Counter or Delay Flip-flop But in order to prevent this from happening an inverter can be connected between the “SET” and the “RESET” inputs to produce another type of flip flop circuit known as a Data Latch, Delay flip flop, D-type Bistable, D-type Flip Flop or just simply a D Flip Flop as it is more generally called. The D Flip Flop is by far the most important of the clocked flip-flops as it ensures that ensures that inputs S and R are never equal to one at the same time. The D-type flip flop are constructed from a gated SR flip-flop with an inverter added between the S and the R inputs to allow for a single D (data) input. Then this single data input, labelled D, is used in place of the “set” signal, and the inverter is used to generate the complementary “reset” input thereby making a level-sensitive D-type flip-flop from a level-sensitive RS-latch as now S = D and R = not D as shown. D-type Flip-Flop Circuit Thus this single input is called the “DATA” input. Truth Table for the D-type Flip Flop 4-bit Data Latch

Reactive Music Dennis DeSantis