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INTRODUCTION TO
THE LAB COMPONENT
One of the objectives of FPA 147 is to combine the theoretical and
the practical. In other words, in this course, you will learn about
many of the theoretical and contextual issues pertaining to
electroacoustic music, and then you will implement this knowledge
by creating your own electroacoustic music.
Therefore, the course has two separate components: the
twelve Study Guide units and the eleven labs. Sixty-five per cent of
your mark is based upon practical work; however, the relationship
to the theoretical and historical material is direct. In other words,
the creative assignments (Projects Three and Four) depend very
much on the written material, not only in theory but also in the
style of the music discussed, which is in the tradition of European
art music (rather than commercial electronica).
Lab One
ADDITIONAL MATERIALS
Everything you need to know is included in the Study Guide and
this Lab Guide. Occasionally, you may wish to find out more about
the software and/or terminology. There are several valuable
resources on the Internet, one of which is the Zen Audio Project,
found at:
<http://www.sfu.ca/sca/Manuals/ZAAPf/new%20page.html>
The Zen Audio Project contains definitions and references for all
things audio, and it includes many excellent animated diagrams.
Another good reference is Barry Truaxs Handbook for Acoustic
Ecology. This online reference tool is an excellent source for
terminology related to acoustics, psychoacoustics, and acoustic
ecology, and it contains many diagrams and sound examples. Its
thematic search engine and extensive cross-references (links) make
it particularly useful for understanding the terms used in Units One
and Two.
<http://www.sfu.ca/sonic-studio/handbook/index.html>
Lab One
COMPUTERS
As I pointed out in the Introduction, the computers at CLMS are all
Macs. Traditionally, audio professionals have used Macs almost
exclusively; however, many of the professional audio programs are
now available for PCs. Because all of the practical work for this
course can be accomplished using any number of audio programs,
it will not make any difference which platform you use: the final
result will be an audio file.
A caveat for PC users: technical support for the audio
programs will not be as readily available as it is for the Mac, since
your tutor-marker will most likely be a Mac user. However, posting
technical questions to the Class e-mail list on WebCT might elicit
the answers you need.
SOFTWARE
There are three separate concepts that we will deal with in the three
assignments. These concepts emulate the traditional analogue
studios way of working:
EDITING
Basic audio editing, which entails removing extraneous material
from a file (trimming) and moving portions of the audio around
(copy and paste), is best done in an audio editor. Such a program
edits one file at a time, much the way a word processor is used to
work on one document at a time.
On the Mac, the editor of choice is Peak <http://www.biasinc.com>. Peak is a professional program, and it is not free;
however, limited-time demonstration versions of Peak are available
on the bias web site. Peak supports VST plug-ins, which will be
discussed in Lab Five.
A very good shareware editor for the Mac (it costs only US $25,
and a demo version is also available) is Amadeus <http://www.
3
Lab One
Goldwave <http://www.goldwave.com>
MIXING
Once you have multiple sound files, you will want to begin
creating some relationships between them in time, and to hear
these relationships. This process involves mixing different sounds;
it is done using a digital multitrack program such as ProTools
http://www.digidesign.com, Audacity (see above), or Adobe
Audition
(formerly
CoolEdit
Pro)
http://www.adobe.com/products/audition/.
There are several other programs that have this ability;
however, many are based on a fundamentally different conception.
Programs such as Digital Performer (Mac), Cubase (Mac and PC),
Logic Audio (Mac and PC), and Cakewalk (PC) are MIDI sequencers
with the additional capability of mixing digital audio. Because they
are MIDI tools (which are discussed in Unit Eight), they are
structured to represent time in bars and beats rather than seconds.
While some multitrack audio editors can be configured to represent
time in this way, we will always use seconds, allowing for more
abstract conceptions of rhythm and time. Representing time in bars
and beats forces you to think about the music you are creating in a
certain way, and it is not the way most electroacoustic composers
conceptualize and structure their compositions.
Lab One
SIGNAL PROCESSING
Finally, you will need to take your sound files and process them in
various ways (discussed in Unit Five). Most audio editors and
mixing programs have the capability to process signals, usually in
the form of plug-ins (which are discussed in Lab Four).
One necessary feature in signal processing is the ability to set
parameters precisely. Many inexpensive audio editors (particularly
shareware programs) offer only rudimentary control over signal
processing or have preset processing. If your program has a preset
for adding Outer Space Reverb, for example, then it is not a
worthy signal processor. One issue that will continually arise is
achieving subtlety. Creating the weirdest sound possible, which
lower-quality tools will do, is not the object of the exercises.
Lab One
Lab One
STORAGE
If you are working at home, you may not be in danger of having
someone directly erase your data, as you would be working in a
multi-user studio; however, there is always the risk of losing data
through disk error, human error, and (on PCs, at least) viruses.
Thus, you must back up your data on removable mediaa storage
medium such as a disk that can be kept separately from the
computer itself and that can be switched with other disks.
The two best methods of backing up data is through CD-R
(burning a CD) or memory sticks (USB drives). Most computers
have the ability to burn a CD often, simply inserting a blank CDR (the R stands for wRiteable) into the CD drive will open up the
default CD burning application on your computer. Blank CDs are
inexpensive less than a dollar each but cannot be rewritten.
They also hold a fairly limited amount of data up to 800 MB.
USB memory sticks seem to offer the best solution, since they
are re-writeable, are easy to use (simply insert them into the USB
port of your computer), work on both Mac and PC (and are
therefore ideal for moving files between the two platforms), and are
relatively inexpensive (my 1 GB stick cost me less than $100 in
spring 2006).
TO DO THIS WEEK
Find an audio editor that you can use on your computer. If
possible, also find a multitrack editor. The free program Audacity
will run on both Mac and PC, and is sufficient for this courses
needs. For additional software, one site to start your search could
be Hitsquad http://www.hitsquad.com, and excellent source for
shareware and demo audio software, for both Mac and PC.