Task of the week : "Create a function that takes two arguments - (1) pitch class and octave number - and produces the corresponding the MIDI note number. (2) Create a function that can convert the pitch class and octave number into its corresponding MIDI Note number and then into its corresponding frequency."
I am still working on writing the code for this..I can clearly understand what i have to do but writing that in supercollider is a bit difficult right now..,However I am not very far from it.. (2.40pm, 7march'o7)
Key concepts:
Pitch class : {Cn} = { C-2, C-1, C0, C1, C2, C3 ...}
var Pitch class = [ C-2, C-1, C0, C1, C2, C3, C4 , C5 , C6 , C7 , C8 ]
var midi note names = [ [ 0, 12 , 24 , 36 , 48 , 60 , 72 , 84 , 96 , 108 , 120 ]
pitch class = midi note name
var semitones = [0 , 1 , 2 , 3 , 4 , 5 , 6 , 7 , 8 , 9 , 10 , 11 ]
var note names = [C , C# , D , D# , E , F , F# , G , G# , A , A# , B ]
semitones = note names
A3 = 440 HZ, which is midi note no 69
var frequency = [ A0 , A1 , A2 , A3 , A4 , A5 , A6 ]= [55 , 110 , 220 440 , 880 , 1720 , 3520 , 7040 ]
I need an algorhythm to relate all these concepts .. I am thinking...!!
expr (440. * exp(.057762265 * ($f1 - 69.))); -- How do i put this algorhythm into supercollider ??
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Audio Arts:
Sound Engineering (3) as this component is called aims to covers a wide range of topics..I am glad we have a list of areas we will be covering each week..To start of, wk 1 is about Multi Micing..
Why record Stereo ? "The principle of binaural recording is to replicate the way our ears capture sounds, and replay those sounds directly into the corresponding ears(1)."
It preserves depth, perspective, and hall ambience -- all when you use several closeup mics, panned into position..Further, a true stereo recording conveys
* the depth or distance of each instrument
* the distance of the ensemble from the listener (the perspective)
* the spatial sense of the acoustic environment--the ambience or hall reverberation.
Goals of stereo Micing : " Accurate localization", i.e. "the reproduced instruments should appear in the same relative locations as they were in the live performance".
Polar patterns : Get familair with all the polar patterns and their uses before learning the various stereo microphone techniques..
* Half-omnidirectional or hemispherical: Picks up equally over a 180 spherical angle.
{All of the following patterns are considered unidirectional because they pick up mainly in one direction.}
* Cardioid: “Heart-shaped” pattern that offers maximum rejection (null) at the rear of the microphone.
* Supercardioid: Has a narrower pickup pattern than cardioid, but also has some rear pickup. Note that there are two nulls of maximum sound rejection.
* Hypercardioid: Has a narrower pickup pattern than supercardioid, but also has more rear pickup than supercardioid. Note that there are two nulls.
* Bidirectional (figure-eight or cosine): Picks up mainly in two directions (in front of and behind the mic) and rejects sound from the sides.
Various Stereo Microphone Techniques :
* Spaced Pair :
* Coincidnt pair or XY/intensity streo method :
Method : 2 directional microphones mounted over top with diaphragms one above another,nearly touching,angled apart towards the left and right side of the recording source.."The greater the angle between microphones, and the narrower the polar pattern, the wider the stereo spread". (quotes taken from readings on my Uni )
* Mid side : click here to listen to the recording example
Location : EMU
Track : "Om Jai" using mid side technique
* Near Coincident pair
* Baffled Omni Pair
*******{Recordings coming very soon }
References:
(1) http://www.soundonsound.com/sos/1997_articles/mar97/stereomictechs2.html
5March'07
(2)Grice, David.2007.Tutorials on Sound Engeneering (3). 27 Feb'07.University Of Adelaide.
(3) Readings on My Uni.2007.
https://myuni.adelaide.edu.au/webapps/portal/frameset.jsp?tab=courses&url=/bin/common/course.pl?course_id=_172363_1&frame=top
(4) http://www.crownaudio.com/mic_web/tips/mictip2.htm 5 March'07
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