Synthesis Theory


Course Outline  

  • 97/09/04: Introduction to Digital Audio (SoundDesigner)
  • 97/09/09-11: Fundemental Concepts
  • 97/09/16-18: Introduction to Csound
  • 97/09/23-30: Introduction to Unix and Web authoring (Charles Kim)
  • 97/10/02-09: Introduction to Digital Sound Synthesis
  • 97/10/14: Midterm holiday (no class)
  • 97/10/16-23: Sampling and Additive Synthesis
  • 97/10/28: Multiple Wavetable, Wave Terrain Synthesis
  • 97/10/30: Mid-term exam (open book)
  • 97/11/04-07: Granular Synthesis
  • 97/11/11-13: Subtractive Synthesis
  • 97/11/18-25: Modulation Synthesis
  • 97/11/27: Thanksgiving (no class)
  • 97/12/02-11: Physical Modelling and Formant Synthesis
  • 97/12/16: Final exam (open book, C314, 1300-1420)

  • Assignment #10 (Due December 16)

    Use Chebychev polynomials to produce a square wave using csound.

    Hints: Use GEN13 and tablei. Verify your results visually, aurally or use an FFT analysis. Don't let the phase confuse you.


    Assignment #9 (Due December 5)

    Produce the music on p.191 in Moore's book (A = 440Hz) using FM to simulate simulate vibraphone-like tone.

    Do the same thing except use Schottstaedt's FM piano algorithm (CMJ 1977).


    Assignment #8 (Due November 25)

    Produce the music on p.191 in Moore's book (A = 440Hz), simulate the "motor on" using increasing exponential curve to control the frequency of AM. Use RM to simulate vibraphone-like tone.


    Assignment #7 (Due November 18)

    1. Use a 1-3 sec. spoken words and do an LPC analysis. Experiment using different frequency range, number of poles, hop size, and voice/unvoiced cutoff point so that the size of the LPC file is minimal without sacrificing the output quality. Submit the result.
    2. Use the same lpc file to produce output which are half as slow without changing pitch.
    3. Use the same lpc file to produce output which is twice the speed without changing the pitch.
    4. Use the same lpc file to produce output which is twice the pitch but at the same speed.
    5. Use the sample lpc file to produce output which is half the pitch and twice the speed.
    6. Use a 1-3 sec. orchestra excerpt, do an LPC analysis and use the spoken word sample as input to produce an output.
    7. Do the reverse of above, i.e., use the orchestra as input to the spoken word LPC analysis.
    8. Use lpfreson to shift the fomants. Give two examples.


    Assignment#6 (Due November 4)

    1. Write a 1-5 minute granular synthesis piece using minimum of three instruments with muliple oscillators. Control all seven parameters, including different waveforms and sampled sounds.

    2. Wrtie a 1-5 minute granular synthesis piece using minimum of five grain generators. (See NewOpcodes1.READMEfor info on grain and Paris Smaragdis's examples.)


    Assignment #5 (Due October 23)

    Place the orch and score files in (314):Departmental:Faculty:ich:Classes:Synth:Assignment 5.


    Assignment #4 (Due October 16)

    Place the orch and score files in (314):Departmental:Faculty:ich:Classes:Synth:Assignment 4.


    Assignment #3 (Due October 2)

    Place the orch, score, and MIDI files in (314):Departmental:Faculty:ich:Classes:Synth:Assignment 3.


    Assignment #2 (Due September 16)

    Study and play with Toots 1-12.

    Produce the following with CSOUND:

    Hint:

    Place the orch and score files in (314):Departmental:Faculty:ich:Classes:Synth:Assignment 2.


    Assignment #1 (Due September 9)


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    Go to the Peabody Home Page


    For comments or questions email. to: ich@peabody.jhu.edu