Week 3

Sound design for Films:
Key elements for a good sound design
*Enviornment
*POV - angle or camera movement
*Low Lighting
*minimal dialogue
One of the ket things you will come across would be "why is this music not working with this scene"?.Keep watching the scene again and again,unless you come up with something quite interesting.'Time' will solve everything,anything you ever want to acheive.In some cases you will find that the music works really well and you dont really want to change it.
Temp track : A personel idea of director what he likes.Always remember you are working for someone,his baby and by all means you have to listen and please him with your work.A balance between satisfying all his needs and displaying your creative adventures,is what your aim is.In most cases if the director and the composer is happy,the film would be a success.

Sound Track components
*Dialogue
*Fx
*Foley (dramatic or narrative aspects)
*Atmos (blanket sound,background)
*Music

ADR - Automatic Dialogue Recording

Other important areas : copyright rules for musicians/artists
Mechanical rights of DVD,sound libraries etc
check out Australian Copyright Council's Online Information Centre http://www.copyright.org.au/
-------------------------------------------------------------------------------------
Game Project : My group is using Torque engine for their game.Check out a brief "Torque engine analysis"

Game engine
*Components
*Modular - Assembly
specific task
specialised task
sound
rendering scenery(L-systems)
*Abstraction
*Level Editors

Sofware to Hardware
Open GL - Graphic Language
Open Al - Audio language

Complexity : LE - MW - SRC code
-------------------------------------
Creative Computing : Msp
Synthesis and Enveloping
*Path towards virtual Instruments(Rewire)
*Additive,Amplitute modulation(ring modulation)
*object(encapsulation) - instances
*Synthesis e.g. protools mixer

Additive Synthesis : Adding simple tones to make complex tones e.g. Kawai 5000
E.g. : cycle~60 +cycle~200 + cycle~ 440 = complex tone by additive synnthesis.

Fourier Theorem :All sounds can be representated as sine tones.
*Delta time : space between start and end time(gives you 2 figures) whereas duration gives you only one figure.
# : arguments within an object (any parameter you want)
#1 - first argument,#2 - second argument and so on..
Function : GUI object - envelope generator

Tremelo and Ring Modulation " If the modulating frequency is above 16Hz it is ring modulation and if it is below 16Hz t is tremelo.
Modlating frequency always come down to zero at some point.
Carrier frequency : sound source
modulater : control/changing source
E.G : Say CF = 1000 and MF = 250
Then the range will be between 750Hz-1250 Hz and Ring Modulation is 500.

Amplitute Modulation: Amplitude modulation involves changing the amplitude of a “carrier” signal using the output of another “modulator” signal.
To put it another way, the modulator can cause fluctuation of amplitude around some
value other than 0,hence it is always + or -(never 0)
DC Offset: direct current(positive value)

Additive synthesis example: Partial~ patch
#P window setfont "Sans Serif" 9.;
#P window linecount 1;
#P newex 10 119 34 196617 pass~;
#N comlet partial # (multiplier);
#P inlet 149 27 15 0;
#P window setfont Arial 9.;
#P comment 48 120 74 131137545 specified partial;
#N comlet (signal) Sinusoidal partial;
#P outlet 11 141 15 0;
#P window setfont "Fixedwidth Serif" 10.;
#P newex 390 66 38 1441802 line~;
#N comlet Phase;
#P inlet 313 27 15 0;
#P window setfont Arial 9.;
#P comment 328 28 32 131137545 phase;
#P comment 405 28 107 131137545 amplitude and delta time;
#N comlet Amplitude and delta time;
#P inlet 390 27 15 0;
#P window setfont "Fixedwidth Serif" 10.;
#P newex 11 92 389 1441802 *~;
#P window setfont Arial 9.;
#P comment 26 28 101 131137545 fundamental frequency;
#P window setfont "Fixedwidth Serif" 10.;
#P newex 11 66 312 1441802 cycle~;
#N comlet Fundamental frequency;
#P inlet 11 27 15 0;
#P newex 11 45 148 1441802 * $1;
#P window setfont Arial 9.;
#P comment 164 28 131 131137545 partial # (ratio to fundamental);
#P connect 10 0 5 1;
#P connect 6 0 10 0;
#P connect 9 0 3 1;
#P connect 13 0 1 1;
#P connect 14 0 11 0;
#P connect 3 0 5 0;
#P connect 1 0 3 0;
#P connect 2 0 1 0;
#P connect 5 0 14 0;
#P window clipboard copycount 15;

Simple Synth patch: Simple Synth converts midi values into its corresponding frequencies and uses envelope generator to demonstate the process of additive synthesis.You have the option of either playing through the keyboard or click button to play random 100 midi values.
#P window setfont "Sans Serif" 9.;
#P window linecount 1;
#P comment 367 34 100 196617 vinny Bhagat 2006;
#P newex 42 65 52 196617 metro 50;
#P toggle 42 42 15 0;
#P newex 42 87 64 196617 random 100;
#P window linecount 2;
#P comment 77 236 54 196617 converted frequency;
#P number 41 179 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P number 41 240 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
#P window linecount 1;
#P message 179 168 33 196617 clear;
#P user number~ 5 348 44 363 9 3 3 2 0. 0. 0 0. 250 0. 0 0 0 221 221 221 222 222 222 0 0 0;
#P message 118 347 27 196617 stop;
#P message 52 348 65 196617 startwindow;
#P newex 41 382 29 196617 dac~;
#P newex 234 294 50 196617 line~ 0.5;
#P user function 171 187 371 287 1 1 0 0;
#X frgb 82 82 82;
#X brgb 204 204 204;
#X rgb2 85 85 85;
#X rgb3 255 255 255;
#X rgb4 0 0 0;
#X rgb5 0 0 0;
#X add 10.638297 0.72 2;
#X add 234.042542 0.613333 2;
#X add 377.659576 0.853333 2;
#X add 606.382935 0.733333 2;
#X add 632.978699 0.346667 2;
#X add 941.489319 0.24 2;
#X domain 1000.;
#X range 0. 1.;
#X done;
#P newex 41 316 41 196617 *~ 0.5;
#P newex 41 292 61 196617 cycle~ 440;
#P newex 41 208 31 196617 mtof;
#P user kslider 41 110 54 0 36 60 31 12 0 128 128 128 128 128 128 255 255 255 0 0 0 0 0 0;
#P comment 77 180 82 196617 midi note number;
#P comment 59 43 125 196617 click to play random tones;
#P window setfont "Arial Black" 14.;
#P comment 210 18 116 791478286 Simple Synth;
#P fasten 6 0 12 0 46 340 10 340;
#P fasten 17 0 3 0 47 101 46 101;
#P fasten 3 0 15 0 46 172 46 172;
#P connect 15 0 4 0;
#P connect 4 0 14 0;
#P connect 14 0 5 0;
#P connect 5 0 6 0;
#P connect 6 0 9 0;
#P fasten 10 0 9 0 57 372 46 372;
#P fasten 11 0 9 0 123 376 46 376;
#P connect 18 0 19 0;
#P connect 19 0 17 0;
#P fasten 8 0 6 1 239 313 77 313;
#P fasten 3 0 7 0 46 167 176 167;
#P fasten 13 0 7 0 184 185 176 185;
#P connect 7 1 8 0;
#P window clipboard copycount 21;

-------------------------------------------------------------------------
Forum Presentation by myself:

What is a ‘rag’ ?
‘Rag’ is derived from Sanskrit word ‘raga’ which means “colour or passion” (Apte 1987).There is no direct translation in English which explains a ‘rag’.However it is a combination of different characteristics.

* Scale/Mode/selection of notes
* Ascending and descending structure
* Level of significance - Some are important notes and others are less
* Movements.
* Time of the day

Raag Yaman : This rag has a strong association with the evening. It uses all seven notes of the scale ie
1 2 3 #4 5 6 7 with 3rd being a stronger note and 7th being less slightly than 3rd .
#4 suggests it is a Lydian mode with structure of T T T S T T S

Significance of drone : The function of the drone is to provide a firm harmonic base to the music.Normally root note and 5th is played on tanpura.

This improvisation is derived from one of the compositions I was taught by my first music teacher,
Mr. Bhasker Bose. He is responsible for introducing me to music and I dedicate this performance to him.

References
(1)Haines,Christian.2006.Audio Arts lecture on Sound Design for Games.University Of Adelaide.8 August'06.
(2)Haines,Christian.2006.Creative Computing lecture on Max/Msp.University Of Adelaide.10 August'06.
(3)Klose,Ashley.2006.Lectures on Sound Design for Films.University Of Adelaide.8 August'06
(4)Msp Tutorials and Topics.2006.Cycling 74
(5)Bhagat,Vinny.2006.Presentation a the Forum.Program Note.University Of Adelaide.10 August'06