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Interactive Frequency Chart - Independent Recording Network

Interactive Frequency Chart - Independent Recording Network

http://www.independentrecording.net/irn/resources/freqchart/main_display.htm

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How to master your own music – the basics Can you master your own music ? Ian Shepherd I’ve worked as a professional mastering engineer for over 15 years now, and my honest opinion is that with the technology available now, the answer is “Yes”. Black Midi: compositions so complex humans can't perform them / Boing Boing Rhizome takes a look at the world of Black Midi, compositions with so many notes that to print them as musical notation would result simply in a giant blob of ink on the page. We've previously written about Circus Galop, an inhumanly-polyphonic test suite for automatic pianos. This stuff makes it look rather minimalist.

Synth Patchwerk lets you control a massive analog synthesizer from your browser, and streams the results back to you and everyone connected. The interface on this site is linked to a physical synth cabinet connected to the world's largest homemade modular synth, currently housed at the MIT Museum. Turn a knob here, and Patchwerk will turn a motorized knob on the cabinet. If someone at the Museum grabs a knob, you'll see it turn too. When you first connect, you'll be in OBSERVE mode, which means that you can hear the synth and see what the controllers are doing, but won't be able to activate the knobs or buttons yourself.

Outline of basic music theory Professional music theory: an outline of basic music theory. Preface and Chapter 1 of the Outline of basic music theory – by Oscar van Dillen ©2011-2014 The beginner’s learning book can be found at Basic elements of music theory. Overview of chapters: ESP - Direct Injection Box for Recording and PA Systems Direct Injection Box for Recording & PA SystemsRod Elliott (ESP) Updated 08 Jan 2005 Introduction A Direct Injection (or DI) box is a very handy piece of equipment for any public address rig or recording studio, whether for band or general use. Equal-loudness contour ISO equal-loudness contours with frequency in Hz. An equal-loudness contour is a measure of sound pressure (dB SPL), over the frequency spectrum, for which a listener perceives a constant loudness when presented with pure steady tones. The unit of measurement for loudness levels is the phon, and is arrived at by reference to equal-loudness contours. By definition, two sine waves of differing frequencies are said to have equal-loudness level measured in phons if they are perceived as equally loud by the average young person without significant hearing impairment. Equal-loudness contours are often referred to as "Fletcher-Munson" curves, after the earliest researchers, but those studies have been superseded and incorporated into newer standards. The definitive curves are those defined in the international standard ISO 226:2003 which are based on a review of several modern determinations made in various countries.

The history of electronic music from 1800 to 2015 120 Years of Electronic Music* is a project that outlines and analyses the history and development of electronic musical instruments from around 1880 onwards. This project defines ‘Electronic Musical Instrument’ as an instruments that generate sounds from a purely electronic source rather than electro-mechanically or electro-acoustically (However the boundaries of this definition do become blurred with, say, Tone Wheel Generators and tape manipulation of the Musique Concrète era). The focus of this project is in exploring the main themes of electronic instrument design and development previous to 1970 (and therefore isn’t intended as an exhaustive list of recent commercial synthesisers or software packages.) Modes of interaction for performers and composers: Atonality and just intonation as a theme in instrument design. New composition tools: Musician-free composition ’120 Years Of Electronic Music’ is an ongoing web project initiated in 1995 by the author simon.crab@gmail.com .

List of intervals in 5-limit just intonation In all tunings, the major third is equivalent to two major seconds. However, because just intonation does not allow the irrational ratio of √5/2, two different frequency ratios are used: the major tone (9/8) and the minor tone (10/9). The intervals within the diatonic scale are shown in the table below. I analyzed the chords of 1300 popular songs for patterns. This is what I found. For many people, listening to music elicits such an emotional response that the idea of dredging it for statistics and structure can seem odd or even misguided. But knowing these patterns can give one a deeper more fundamental sense for how music works; for me this makes listening to music a lot more interesting. Of course, if you play an instrument or want to write songs, being aware of these things is obviously of great practical importance.

Guitar Pitch Shifter - Algorithm 3. Algorithm 3.1 What needs to be achieved3.2 Superposition of frames3.3 Phase vocoder 3.3.1 Overview Facebook For Musicians: A Definitive Guide [This post by Bryan Kim (@freshbreakfast), Biz Dev master at Tracksby, originally appeared on his blog Trackswell. Thanks to Bryan for letting us re-post it here.] Facebook is the largest marketing channel for most musicians and bands. Surprisingly, it’s also the one they know the least about. So in this guide, we’re going to breakdown why Facebook is important, how it works, and most importantly, the specific steps you can take to make Facebook work for you and your fans.

Hear Seven Hours of Women Making Electronic Music (1938- 2014) Two years ago, in a post on the pioneering composer of the original Doctor Who theme, we wrote that “the early era of experimental electronic music belonged to Delia Derbyshire.” Derbyshire—who almost gave Paul McCartney a version of “Yesterday” with an electronic backing in place of strings—helped invent the early electronic music of the sixties through her work with the Radiophonic Workshop, the sound effects laboratory of the BBC. She went on to form one of the most influential, if largely obscure, electronic acts of the decade, White Noise.

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