This document provides suggestions for teaching music technology concepts with limited resources, including free and low-cost digital audio workstations, multitrack stems and acapellas from various websites, notation and music theory software, and miscellaneous music software resources. It discusses analyzing commercially released songs in detail to learn about form, instrumentation, mixing, and production techniques. It also offers ideas for practical hands-on projects using lo-fi signal processing and the acoustics of different spaces to teach important concepts without advanced equipment.
DJ mixers- 4 key points to choosing a DJ mixerserena1black
This document discusses four key points to consider when choosing a DJ mixer: 1) Budget, as mixers can range from $79 to thousands, and a minimum of $175 is recommended. 2) Equipment used, such as turntables, CDJs, or laptop, to determine the needed number of channels. 3) Music genres and playing style, as some mixers cater more to mixing or scratching. 4) Desired extras, like effects, sampling, or advanced cueing features. Considering these four factors helps narrow the search for the perfect DJ mixer.
This document provides an introduction to DJ skills, terms, and techniques. It defines what a DJ is, explaining that a DJ plays recorded music for an audience using various media formats. The benefits of using a DJ over simply playing music files are that DJs can seamlessly mix songs without breaks to keep the dance floor active, play appropriate music for the audience, and get a crowd excited through effects, transitions, and song selection. The document then discusses DJ equipment like turntables, CDJs, controllers, and various cable types and file formats like MP3 and WAV files.
This document provides a list of over 30 free resources for visual and audio content that can be used for both personal and commercial projects. It includes websites for free public domain images, patterns, vector graphics, icons, fonts, graphics, text generators, clipart, royalty-free photos, graphics, and music. Many of the resources have few or no restrictions on commercial use. A downloadable report with the full list of resources is available on the provided website.
The document discusses different types of audio available on the web, including downloadable music files, professional podcasts, amateur podcasts, internet radio, and streaming audio. It provides definitions and examples of each type. It also covers some potential issues with playing audio online and offers tips to address them, such as allowing more time for streaming or adjusting the volume. The document encourages experimenting with different audio formats and technologies.
GarageBand allows users to create their own music, learn instruments, and record and share songs. It provides virtual instruments, recording tools, and the ability to export songs to iTunes or create ringtones and podcasts. The document encourages opening GarageBand to select styles, instruments, and record tracks, then tweak and adjust the recording before sharing or learning to play new instruments.
DJ mixers- 4 key points to choosing a DJ mixerserena1black
This document discusses four key points to consider when choosing a DJ mixer: 1) Budget, as mixers can range from $79 to thousands, and a minimum of $175 is recommended. 2) Equipment used, such as turntables, CDJs, or laptop, to determine the needed number of channels. 3) Music genres and playing style, as some mixers cater more to mixing or scratching. 4) Desired extras, like effects, sampling, or advanced cueing features. Considering these four factors helps narrow the search for the perfect DJ mixer.
This document provides an introduction to DJ skills, terms, and techniques. It defines what a DJ is, explaining that a DJ plays recorded music for an audience using various media formats. The benefits of using a DJ over simply playing music files are that DJs can seamlessly mix songs without breaks to keep the dance floor active, play appropriate music for the audience, and get a crowd excited through effects, transitions, and song selection. The document then discusses DJ equipment like turntables, CDJs, controllers, and various cable types and file formats like MP3 and WAV files.
This document provides a list of over 30 free resources for visual and audio content that can be used for both personal and commercial projects. It includes websites for free public domain images, patterns, vector graphics, icons, fonts, graphics, text generators, clipart, royalty-free photos, graphics, and music. Many of the resources have few or no restrictions on commercial use. A downloadable report with the full list of resources is available on the provided website.
The document discusses different types of audio available on the web, including downloadable music files, professional podcasts, amateur podcasts, internet radio, and streaming audio. It provides definitions and examples of each type. It also covers some potential issues with playing audio online and offers tips to address them, such as allowing more time for streaming or adjusting the volume. The document encourages experimenting with different audio formats and technologies.
GarageBand allows users to create their own music, learn instruments, and record and share songs. It provides virtual instruments, recording tools, and the ability to export songs to iTunes or create ringtones and podcasts. The document encourages opening GarageBand to select styles, instruments, and record tracks, then tweak and adjust the recording before sharing or learning to play new instruments.
This document provides information on various DJ software programs that are available for free download for PC and Mac. It summarizes 13 different DJ software programs, including Virtual DJ, Ultramixer, MIXXX, KRAMIXER, Zulu DJ Software, PCDJ, Mixvibes Cross DJ, Gemini DJ Groove Mixing Software, DJ Mixer PRO, DJ Traktor PRO, and their key features such as beat matching, effects, file support, and integration with hardware controllers. All of the software can be downloaded from the website http://djprogramsforpc.net.
For a robotics project, students built a disco scene in a box painted black and white, with a cardboard DJ turntable, bottle cap turn tables, a dance floor made of lights under plastic, a servo-powered disco ball that spun as lights flashed, and printed people glued to the dance floor. If redoing the project, the student would add working sensors so lights turn on automatically, include a disco song playing during the light show, and possibly a dancing figure.
Nathan Prouty provides his resume highlighting his education in sound design from Michigan Technological University. He has experience in several productions as a sound designer, composer, and engineer. Prouty also lists the software he is proficient in using and his skills in areas such as sound design, audio editing, recording, producing and mastering. He provides references from his employer at Rowe's Produce Farm and professors from Michigan Tech.
Sous le feu des critiques: Trop moderne! Pas assez subversive aux yeux de certains! Pas créative! Un effet de mode passager pour les "djeunz"! Ou pire une musique de drogués!! Permettez moi au cours de cette session de vous éclairer sur cette culture et également sur les coulisses de la création des musiques assistées par ordinateur (MAO), et de voir ensemble les relations intéressantes que l'on peut tisser avec nos pratiques du développement logiciel (Software Craftsmanship).
On a pu lire quelques analogies entre pratique des musiques jazz, somme toute une musique très classique, et la pratique du développement logiciel tel que nous la concevons tous ici ("agile" diront certain). Pourtant il y a bien des façons de faire de la musique et en tant que spécialistes de la programmation j'ai été étonné de constater que peu d'entre nous s’intéressent à la musique dite "électronique". Pourtant, dans ces musiques aussi, nous nous servons d'outils logiciels au service de notre inspiration et notre créativité. On retrouve l'approche incrémentale, la technique imposée par les machines, des patterns évidemment, mais aussi de la pratique répétée, de l'amélioration continue et la coopération quand nous formons des groupes collaboratifs.
Au cours de cette session, après les généralités d'usage, je vous montrerai un DAW (digital audio workstation) logiciel, très couramment employé, et pas que pour la musique électronique, j'ai nommé "Live 9" d'Ableton avec sa surface de contrôle dédiée: Push (une sorte de clavier multi-fonctions pour la musique). Live est également extensible grâce à Max MSP, une API de programmation qui permet de scripter/patcher ce logiciel sous bien des formes.
J'espère vous montrer que création et programmation ne sont pas si éloignés que cela... et vous ferai partager mon expérience au sein de la Do It Yourself Music Academy
The slides for my seminar on adaptive music at the Charles University in Prague // Introduction to the topic of adaptive music // Music Design // Sequence Music Engine // On development of the Kingdom Come: Deliverance soundtrack.
Practical Strategies for Producing Animated Video on a BudgetAmy Som
This document provides tips for recording and editing audio to use in animated videos created with GoAnimate. It recommends setting up a organized filing system and doing a dry run of recordings to check for issues. Some easy initial edits include reducing background noise, clicks, and echoes. More advanced editing involves experimenting with effects to improve audio quality. When exporting audio, files should be named systematically. The document also offers tips for planning audio needs, creating custom props, including multiple voices, and frequent saving while editing in GoAnimate to prevent potential crashes.
Ummeed is a band based in Gwalior, India comprised of students, professionals, and musicians. They believe in the transformative power of music and dedicate themselves to practicing and living music from the heart. Over the past several years, Ummeed has performed over 50 shows across India, participated in music competitions and festivals, produced original songs and covers in Hindi and English, and organized an annual music festival in Gwalior called Rock Union. They are currently working on their first album titled "Volume 1".
Podcamp Philly Presentation Nota Pro Nota ProblemProducePicker
The document provides tips for creating a professional-quality podcast without a large studio budget. It recommends prioritizing sound quality over video quality and giving yourself a memorable moniker. It also outlines the key elements of a professional podcast, including audio and video production skills, and lists resources for improving skills and equipment on a budget.
A presentation given by Keith Hatschek during the 2013 Pacific Music Business Camp that gives an overview of the entire record production process and concludes with sharing five notable tracks that show some of the key attributes of a well produced popular music recording.
This document is a questionnaire about music video preferences. It asks respondents about their age, gender, occupation, how often they watch music videos, their favorite music channels and genres. It also asks about their ideal music video, including whether they prefer narrative, performance or concept-based videos and what elements they find most interesting like characters, locations or editing. The goal is to understand viewers' tastes in music videos and what kinds of videos appeal most to different demographics.
The document discusses the interior design of two pubs in Bhopal, India - Streamz Bar and 10 Downing Street. It provides details on the design elements considered for interior design like visual aspects, lighting, atmosphere, furniture, and sound. For Streamz Bar, the theme followed was a normal bar with a white and brown color scheme. Wood, fiber plastic, glass and fiberglass were mainly used. Furniture had a wooden skeleton woven with fiber plastic strips. For 10 Downing Street, the theme was a British Army mess with a red, green and brown color scheme. Materials used included wood, brass and leather. Both locations considered ceiling and wall treatments, flooring materials and special interior design elements to achieve their
GarageBand is a software application developed by Apple that allows users to create and record music or podcasts on Mac OS X and iOS devices. It was first introduced in 2004 and gives users tools like virtual instruments, audio recording, MIDI editing, and music lessons. GarageBand provides over 100 instrument sounds and the ability to record multiple audio tracks to create original songs or compositions.
This document provides an overview of podcasting and suggestions for getting started with creating podcasts. It discusses what podcasts are, how to find and consume them, and outlines a 7 step process for creating podcasts including recording and editing audio and video, hosting, publishing, and promoting podcasts. Examples of libraries that create podcasts are also provided. The document recommends several additional resources for learning more about podcasting.
This document discusses information architecture and user experience concepts. It first talks about different ways of ordering information, noting that order used to be based on genre or instrument but is now more flexible. The second part presents Discogs, a database for music releases. Discogs introduced "master releases" to group different versions of an album that may vary by country or format. This reduced clutter on artist pages by consolidating similar releases under a single master release.
Teosto – What's this song? @finlandiataloTeosto ry
This document summarizes music recognition pilots conducted in 2012-2013 in Finland. It discusses recognizing music from live performances at festivals like Provinssirock as well as DJ sets from clubs. The pilots found the system could already identify songs with some restrictions and quality of recording did not significantly affect results. Recognition was best from a direct desk output and one DJ set. Processing live and line-out signals caused difficulties in another DJ set. Potential applications discussed were integrated live venue systems, artist-specific services, and big festivals where recognition could help royalty distribution.
The document discusses different elements of sound that can be used in films including diegetic and non-diegetic sound. It prompts the reader to analyze sequences from several films to identify dialogue, sound effects, and music, and how they are used to create specific effects. The document also explains the differences between scores and soundtracks.
Techno is a form of electronic dance music that originated in Detroit, Michigan in the late 1980s. It was first referred to as a genre of music in 1988. Many styles of techno now exist but Detroit techno is seen as the foundational style that other subgenres have been built upon.
20190625 Research at Taiwan AI Labs: Music and Speech AIYi-Hsuan Yang
A very brief introduction of what we have been working on at the AI Labs on "music AI" (specifically, automatic music composition/generation) and "speech AI" (specifically, Mandarin ASR).
slides presented at a three-hour local AI music course in Taiwan in Oct 2021; part 1: a brief introduction to music information retrieval (+analysis, +generation)
Annotating Music Collections: How Content-Based Similarity Helps to Propagate...Oscar Celma
This document summarizes a research paper that proposes using content-based similarity between songs to help annotate large music collections. The researchers aim to address problems like sparse tagging and the "cold start" of new songs with no tags. Their approach uses audio features to find similar songs and then propagates their tags as suggestions to ease the annotation process. They conducted experiments comparing automatically propagated tags to ground truth tags on over 5,000 songs, finding reasonable recall and precision especially when limiting tags to mood descriptors. The document outlines their methodology, experimental results and conclusions.
This document provides an overview of DJ hardware, software, and techniques. It covers turntables, CDJs, digital vinyl systems (DVS), controllers, and software-only systems. It discusses building an MP3 collection through listening, tagging, organizing by key, and analysis. Mixing techniques like harmonic mixing using the Camelot wheel are demonstrated. Hands-on experience is provided with Serato Scratch Live on turntables to mix tracks. Contact information is provided for booking requests.
This document provides information on various DJ software programs that are available for free download for PC and Mac. It summarizes 13 different DJ software programs, including Virtual DJ, Ultramixer, MIXXX, KRAMIXER, Zulu DJ Software, PCDJ, Mixvibes Cross DJ, Gemini DJ Groove Mixing Software, DJ Mixer PRO, DJ Traktor PRO, and their key features such as beat matching, effects, file support, and integration with hardware controllers. All of the software can be downloaded from the website http://djprogramsforpc.net.
For a robotics project, students built a disco scene in a box painted black and white, with a cardboard DJ turntable, bottle cap turn tables, a dance floor made of lights under plastic, a servo-powered disco ball that spun as lights flashed, and printed people glued to the dance floor. If redoing the project, the student would add working sensors so lights turn on automatically, include a disco song playing during the light show, and possibly a dancing figure.
Nathan Prouty provides his resume highlighting his education in sound design from Michigan Technological University. He has experience in several productions as a sound designer, composer, and engineer. Prouty also lists the software he is proficient in using and his skills in areas such as sound design, audio editing, recording, producing and mastering. He provides references from his employer at Rowe's Produce Farm and professors from Michigan Tech.
Sous le feu des critiques: Trop moderne! Pas assez subversive aux yeux de certains! Pas créative! Un effet de mode passager pour les "djeunz"! Ou pire une musique de drogués!! Permettez moi au cours de cette session de vous éclairer sur cette culture et également sur les coulisses de la création des musiques assistées par ordinateur (MAO), et de voir ensemble les relations intéressantes que l'on peut tisser avec nos pratiques du développement logiciel (Software Craftsmanship).
On a pu lire quelques analogies entre pratique des musiques jazz, somme toute une musique très classique, et la pratique du développement logiciel tel que nous la concevons tous ici ("agile" diront certain). Pourtant il y a bien des façons de faire de la musique et en tant que spécialistes de la programmation j'ai été étonné de constater que peu d'entre nous s’intéressent à la musique dite "électronique". Pourtant, dans ces musiques aussi, nous nous servons d'outils logiciels au service de notre inspiration et notre créativité. On retrouve l'approche incrémentale, la technique imposée par les machines, des patterns évidemment, mais aussi de la pratique répétée, de l'amélioration continue et la coopération quand nous formons des groupes collaboratifs.
Au cours de cette session, après les généralités d'usage, je vous montrerai un DAW (digital audio workstation) logiciel, très couramment employé, et pas que pour la musique électronique, j'ai nommé "Live 9" d'Ableton avec sa surface de contrôle dédiée: Push (une sorte de clavier multi-fonctions pour la musique). Live est également extensible grâce à Max MSP, une API de programmation qui permet de scripter/patcher ce logiciel sous bien des formes.
J'espère vous montrer que création et programmation ne sont pas si éloignés que cela... et vous ferai partager mon expérience au sein de la Do It Yourself Music Academy
The slides for my seminar on adaptive music at the Charles University in Prague // Introduction to the topic of adaptive music // Music Design // Sequence Music Engine // On development of the Kingdom Come: Deliverance soundtrack.
Practical Strategies for Producing Animated Video on a BudgetAmy Som
This document provides tips for recording and editing audio to use in animated videos created with GoAnimate. It recommends setting up a organized filing system and doing a dry run of recordings to check for issues. Some easy initial edits include reducing background noise, clicks, and echoes. More advanced editing involves experimenting with effects to improve audio quality. When exporting audio, files should be named systematically. The document also offers tips for planning audio needs, creating custom props, including multiple voices, and frequent saving while editing in GoAnimate to prevent potential crashes.
Ummeed is a band based in Gwalior, India comprised of students, professionals, and musicians. They believe in the transformative power of music and dedicate themselves to practicing and living music from the heart. Over the past several years, Ummeed has performed over 50 shows across India, participated in music competitions and festivals, produced original songs and covers in Hindi and English, and organized an annual music festival in Gwalior called Rock Union. They are currently working on their first album titled "Volume 1".
Podcamp Philly Presentation Nota Pro Nota ProblemProducePicker
The document provides tips for creating a professional-quality podcast without a large studio budget. It recommends prioritizing sound quality over video quality and giving yourself a memorable moniker. It also outlines the key elements of a professional podcast, including audio and video production skills, and lists resources for improving skills and equipment on a budget.
A presentation given by Keith Hatschek during the 2013 Pacific Music Business Camp that gives an overview of the entire record production process and concludes with sharing five notable tracks that show some of the key attributes of a well produced popular music recording.
This document is a questionnaire about music video preferences. It asks respondents about their age, gender, occupation, how often they watch music videos, their favorite music channels and genres. It also asks about their ideal music video, including whether they prefer narrative, performance or concept-based videos and what elements they find most interesting like characters, locations or editing. The goal is to understand viewers' tastes in music videos and what kinds of videos appeal most to different demographics.
The document discusses the interior design of two pubs in Bhopal, India - Streamz Bar and 10 Downing Street. It provides details on the design elements considered for interior design like visual aspects, lighting, atmosphere, furniture, and sound. For Streamz Bar, the theme followed was a normal bar with a white and brown color scheme. Wood, fiber plastic, glass and fiberglass were mainly used. Furniture had a wooden skeleton woven with fiber plastic strips. For 10 Downing Street, the theme was a British Army mess with a red, green and brown color scheme. Materials used included wood, brass and leather. Both locations considered ceiling and wall treatments, flooring materials and special interior design elements to achieve their
GarageBand is a software application developed by Apple that allows users to create and record music or podcasts on Mac OS X and iOS devices. It was first introduced in 2004 and gives users tools like virtual instruments, audio recording, MIDI editing, and music lessons. GarageBand provides over 100 instrument sounds and the ability to record multiple audio tracks to create original songs or compositions.
This document provides an overview of podcasting and suggestions for getting started with creating podcasts. It discusses what podcasts are, how to find and consume them, and outlines a 7 step process for creating podcasts including recording and editing audio and video, hosting, publishing, and promoting podcasts. Examples of libraries that create podcasts are also provided. The document recommends several additional resources for learning more about podcasting.
This document discusses information architecture and user experience concepts. It first talks about different ways of ordering information, noting that order used to be based on genre or instrument but is now more flexible. The second part presents Discogs, a database for music releases. Discogs introduced "master releases" to group different versions of an album that may vary by country or format. This reduced clutter on artist pages by consolidating similar releases under a single master release.
Teosto – What's this song? @finlandiataloTeosto ry
This document summarizes music recognition pilots conducted in 2012-2013 in Finland. It discusses recognizing music from live performances at festivals like Provinssirock as well as DJ sets from clubs. The pilots found the system could already identify songs with some restrictions and quality of recording did not significantly affect results. Recognition was best from a direct desk output and one DJ set. Processing live and line-out signals caused difficulties in another DJ set. Potential applications discussed were integrated live venue systems, artist-specific services, and big festivals where recognition could help royalty distribution.
The document discusses different elements of sound that can be used in films including diegetic and non-diegetic sound. It prompts the reader to analyze sequences from several films to identify dialogue, sound effects, and music, and how they are used to create specific effects. The document also explains the differences between scores and soundtracks.
Techno is a form of electronic dance music that originated in Detroit, Michigan in the late 1980s. It was first referred to as a genre of music in 1988. Many styles of techno now exist but Detroit techno is seen as the foundational style that other subgenres have been built upon.
20190625 Research at Taiwan AI Labs: Music and Speech AIYi-Hsuan Yang
A very brief introduction of what we have been working on at the AI Labs on "music AI" (specifically, automatic music composition/generation) and "speech AI" (specifically, Mandarin ASR).
slides presented at a three-hour local AI music course in Taiwan in Oct 2021; part 1: a brief introduction to music information retrieval (+analysis, +generation)
Annotating Music Collections: How Content-Based Similarity Helps to Propagate...Oscar Celma
This document summarizes a research paper that proposes using content-based similarity between songs to help annotate large music collections. The researchers aim to address problems like sparse tagging and the "cold start" of new songs with no tags. Their approach uses audio features to find similar songs and then propagates their tags as suggestions to ease the annotation process. They conducted experiments comparing automatically propagated tags to ground truth tags on over 5,000 songs, finding reasonable recall and precision especially when limiting tags to mood descriptors. The document outlines their methodology, experimental results and conclusions.
This document provides an overview of DJ hardware, software, and techniques. It covers turntables, CDJs, digital vinyl systems (DVS), controllers, and software-only systems. It discusses building an MP3 collection through listening, tagging, organizing by key, and analysis. Mixing techniques like harmonic mixing using the Camelot wheel are demonstrated. Hands-on experience is provided with Serato Scratch Live on turntables to mix tracks. Contact information is provided for booking requests.
Helpful tools and techniques for producing high-quality demo recordings. Produced for participants of Centrum's music workshops by David Christensen. Learn more at www.centrum.org,or at www.david-christensen.com
Yi-Hsuan Yang is an Associate Research Fellow with Academia Sinica. He received his Ph.D. degree in Communication Engineering from National Taiwan University in 2010, and became an Assistant Research Fellow in Academia Sinica in 2011. He is also an Adjunct Associate Professor with the National Tsing Hua University, Taiwan. His research interests include music information retrieval, machine learning and affective computing. Dr. Yang was a recipient of the 2011 IEEE Signal Processing Society (SPS) Young Author Best Paper Award, the 2012 ACM Multimedia Grand Challenge First Prize, and the 2014 Ta-You Wu Memorial Research Award of the Ministry of Science and Technology, Taiwan. He is an author of the book Music Emotion Recognition (CRC Press 2011) and a tutorial speaker on music affect recognition in the International Society for Music Information Retrieval Conference (ISMIR 2012). In 2014, he served as a Technical Program Co-chair of ISMIR, and a Guest Editor of the IEEE Transactions on Affective Computing and the ACM Transactions on Intelligent Systems and Technology.
This document provides an overview of game audio essentials for developers in Turkey. It introduces Alpan Aytekin and his background and experience in game audio. It then lists other game audio professionals in Turkey and provides links to audio resources. The document discusses topics like the importance of game audio, differences between film and game scoring, interactive audio approaches, sound effects, sampling and formats, and includes a reference section.
Discovering music: small-scale, web-scale, facets, and beyond-BelfordNASIG
Many libraries are implementing or developing web-scale discovery interfaces or other faceted browsing interfaces. There is exciting potential for new discovery interfaces to ease the difficulties users face when searching for music materials. However, the specialized discovery needs arising from unique characteristics of music materials are often overlooked. This session will examine how to meet the special demands for music discovery while improving access to materials that pose similar challenges, such as law, literature and religious studies, and video collections. The session will provide an overview of the topic, based on the Music Library Association’s Music Discovery Requirements document, and explore aspects of music discovery as realized through specific interfaces.
Rebecca Belford
Music Cataloger/Reference Librarian, University at Buffalo
Buffalo, NY
See accompanying presentation by
Tracey Snyder
Cornell University
http://www.slideshare.net/NASIG/discovering-music-smallscale-webscale-facets-and-beyond
Emex 2013 Chillout Production MasterclassFranco Madrid
Here's the presentation I prepared for the Electronic Music Conference Expo (Emex 2013) last 2013 held at the SM Aura, Fort Global CIty, Taguig, Metro Manila Philippines.
Last 2013 I was invited by Mr. Joshua Evangelista to conduct a workshop on Chillout Music production. It was supposed to be a 1 hour workshop. Due to some technicalities I was not able to conduct the class.
Hoping some of you will benefit through slide share.
Music Information Retrieval (MIR) is an interdisciplinary field that retrieves information from music. MIR aims to make the world's music accessible by using techniques from computer science, information retrieval, audio processing, musicology and more. MIR applications include music document retrieval, recommender systems, emotion detection and more. Music document retrieval identifies music through metadata like Table of Contents or content-based fingerprinting like Shazam. Emotion detection in music aims to classify emotions in music but faces challenges due to subjective human emotion and requires multi-disciplinary techniques.
This document discusses music representation and notation. It begins by motivating the importance of representation for content-based music information retrieval. It then examines different levels of music representation from abstract semantics to concrete notation. The document analyzes the complexities of music notation, particularly western conventional music notation, and how it both enables and challenges computational interpretation. It concludes by emphasizing the need for high-level intelligence to fully interpret music notation and represent its semantics.
The document discusses various aspects of game audio including what game audio is, who creates it and cares about it, when audio teams get involved in the development process, how audio techniques have evolved over time to adapt to technological constraints, and challenges involved in areas like mixing, implementation of interactive and adaptive audio, and addressing constraints of mobile platforms. It provides examples and potential solutions to issues in each area.
Research at MAC Lab, Academia Sincia, in 2017Yi-Hsuan Yang
Some research projects we did in 2017 at the Music & Audio Computing (MAC) Lab, Research Center for IT Innovation, Academia Sinica, Taipei, Taiwan. It includes three parts: 1) vocal separation, 2) music generation, 3) AI DJ.
Worship Band Skills: Musicademy Seminar NotesMusicademy
Playing together in a worship band. For groups of all sizes and abilities. Understand the common factors which make bands sound bad and learn the key points to play well together.
Get over 40 free lessons from Musicademy
http://bit.ly/1pQDyUF
Wojciech Franke - Composing music with clojure.spec - Clojure/conj 2016Wojciech Franke
This document discusses using Clojure's spec library to generate computer music. It describes modeling different elements of music like drums/breakbeats, basslines, and vocal samples as data. The document demonstrates slicing up breakbeats and composing them together, generating bass sequences, and including ragga vocal samples to build up sample-based jungle tracks. It reflects on sharing the spec definitions to enable collaborative music composition and generation between backend processes and frontend interfaces. Areas for future work mentioned include adding cognitive understanding to generated music and building self-healing live performances.
This document outlines the topics that will be covered in a course on music and technology focusing on recording techniques and audio production. The course will cover listening skills, tools used in tracking (recording), mixing, and mastering audio. It will discuss microphones, preamps, DAW software, and other studio hardware. Students will complete assignments analyzing mix graphs of songs and participate in workshop meetings for hands-on recording sessions. The goal is for students to gain experience with modern recording practices and develop creative audio production skills while understanding the historical and social contexts of the field.
Machine learning for creative AI applications in music (2018 nov)Yi-Hsuan Yang
An up-to-date overview of our recent research on music/audio and AI. It contains four parts:
* AI Listener: source separation (ICMLA'18a) and sound event detection (IJCAI'18)
* AI DJ: music thumbnailing (TISMIR'18) and music sequencing (AAAI'18a)
* AI Composer: melody generation (ISMIR'17), lead sheet generation (ICMLA'18b), multitrack pianoroll generation (AAAI'18b), and instrumentation generation (arxiv)
* AI Performer: CNN-based score-to-audio generation (AAAI'19)
Trends in Answer Set-Programming - Focus Musik - PresentationErhard Dinhobl
This document summarizes a presentation on automatic music composition using answer set programming. It discusses using the ANTON system to composition melodies and harmonies by applying declarative rules. ANTON uses 191 lines of code and answer set programming to represent 28 melodic and harmonic rules to generate valid musical pieces. The system can compose for multiple voices and outputs pieces in standard music formats. Future work aims to improve performance and expand ANTON's capabilities to real-time improvisation and more complex musical structures.
The document provides advice for songwriters on developing sound, arrangement, and composition. It recommends using recording software to capture ideas, improvisation, and samples as the basis for songs. Songwriters should experiment with different genres, embrace failure to find their voice, and collaborate with producers and other songwriters for fresh perspectives. When working on songs, it's important to take breaks and listen in different environments to maintain creativity and avoid getting stuck on one idea. The document also discusses using texture, arrangement, and different sounds to shape the narrative and emotional journey of a song.
This document provides an introduction to modern music structure and production. It begins with an overview of basic music notation including the treble and bass clefs, followed by an explanation of common time signatures like 4/4 time. Next, it discusses modern music production tools like Ableton and the piano roll interface. It concludes by offering tips for marketing and monetizing music, including promotion through social media, distribution online and on vinyl, and drawing from the author's experience owning music businesses and DJing large events.
Similar to Teaching Music Technology Concepts with Few Music Technology Resources (20)
12. Analyze the Masters
Basic, large-dimension listening
• What is the form?
• What instruments do you hear?
13. Lead Male Vocalist
Two rhythm guitars (distorted, humbucker, neck pickup?)
Lead guitar (overdriven with deep ¼ note triplet tremolo, tele bridge
pickup)
Bass Guitar
(kick and bass play together during chorues)
Drums
Percussion (congas, small shaker, tambourine without head?)
Strings
How can we expand these descriptions?
There are DOZENS of workstations for us to choose from, each principally serving the same function, but some with slightly different interfaces and feature sets. All are great tools, and I think we develop allegiances depending on what we learned to work with and what we’re used to, but also what kind of recording and editing we need to do. Every major manufacturer has some kind of free trial version available, so if you haven’t aligned with one already, take advantage of those sample versions and play around – see what fits your needs best. Many of the major manufacturers also have entry-level versions that are priced appropriately for school systems, but are compatible with their most advanced versions and scaffold students through the software, starting with the most basic functions and growing from there. Know the features you’re looking for – do you just want something to record audio and make simple edits, the modern equivalent of a tape machine? Some programs – most notably reason and ableton live really specialize in sequencing and synthesis, but don’t do much in the way of audio editing. Do you anticipate doing a lot of work with pre-made loops, where you want the software to automatically adjust the pitch and playback speed of the loop as you change tempo or key? Or do you want something that has a comination of many of these features? That’s going to be up to you and hopefully complimentary to your curriculuar goals. So I’d recommend taking some time to see what’s possible with technology, come up with a really solid curriculum with that in mind, and THEN decide what specific software/hardware etc. will help you make that curriculum happen.I’ll take a moment just to look at four common, free or low-cost digital audio workstations that hopefully you’re already familiar with, but if not this might get you started.AUDACITYKRISTALARDOURREAPER
When you’re teaching MT, the core elements of music are still the same when you are teaching music technology. Melody, Harmony
When you’re teaching MT, the core elements of music are still the same when you are teaching music technology. Melody, Harmony
When you’re teaching MT, the core elements of music are still the same when you are teaching music technology. Melody, Harmony
When you’re teaching MT, the core elements of music are still the same, and are going to be the same no matter what equipment or resources you’re using. This is all material everyone in this room knows very well, and is very accomplished at conveying to students. We’re challenged to step away from the conditions under which most of learned about the elements of music, and embrace the vernacular of modern popular music as a vehicle for teaching these fundamental concepts. We’ve got to make it fun, engaging, and practical; developing exercises that utilize the technology, embrace music the students relate to, and will encourage students to see the depth of the musical palette available to them: It’s not just notes – and…
So I would argue that teaching these concepts is vital no matter the technology we have available, and just because on program might have a multitude of workstations and software options, doesn’t necessarily mean they should just turn on the computers and the let the students go. They can get lost in that. But if you’ve set up some of these guideposts, and connected the importance of the elements to repertoire that the students enjoy and relate to, your setting them up for successful experiences with their own creative endeavors in this medium.
CRAZY examples
CRAZY examples
CRAZY examples
Students can just list the instruments they hear, they could even say when they hear them. And eventually you can explore more about the sounds they’re hearing – defining terms like “distortion” “tremelo” and “congas” as we go”. You can also start to address how the instruments interact and play together.
Having students find the specifics and personnel involved in making a record can be a great jumping off point for discussions about the roles of all these people and organizations, and a discussion of the music business side of things
CRAZY examples
Having students find the specifics and personnel involved in making a record can be a great jumping off point for discussions about the roles of all these people and organizations, and a discussion of the music business side of things
Indaba music offers free and paid memberships to their site, where they host remix competitions and make multitrack stems available as part of these contests. They also have an online DAW called Mantis, which is limited in it’s features but can still get your program started on one computer, with no additional expense. Artists like Guster, Tpain, Ben Folds, Radiohead, Phoenix, Peter Gabriel, Lily Allen, Theivery Corporation, NINAbleton the manufacturers of the sequencer/workstation Live post stems and host contests for remixesMusicdelta.com
Spring reverb, plate reverb, automatic gain control, the “telephone” sound,
Record different instruments in space around your school. What makes them sound that way? Illustrate isolation, absorption, diffusion