" It is all about "how to make a computer sound like a human.
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Most computer sound cards and outputs are meant for "consumer-grade" audio and can be less than ideal for recording professional audio.
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FM is also used at audio frequencies to synthesize sound. This technique, known as FM synthesis, was popularized by early digital synthesizers and became a standard feature in several generations of personal computer sound cards.
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The SID was devised by engineer Robert "Bob" Yannes, who later co- founded the Ensoniq digital synthesizer and sampler company. Yannes headed a team that included himself, two technicians and a CAD operator, who designed and completed the chip in five months in the latter half of 1981. Yannes was inspired by previous work in the synthesizer industry and was not impressed by the current state of computer sound chips. Instead, he wanted a high-quality instrument chip, which is the reason why the SID has features like the envelope generator, previously not found in home computer sound chips.
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As the video game business has grown and computer sound reproduction quality has increased, however, the team of sound designers dedicated to game projects has likewise grown and the demands placed on them may now approach those of mid-budget motion pictures.
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Underhill studied composition at the University of Victoria with Rudolf Komorous. He completed his master's at Stony Brook University under Bülent Arel. He studied analysis at the Darmstadt Ferienkurse für Neue Musik in 1978, and computer sound synthesis at MIT in 1979.
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Media Vision was an American electronics manufacturer of primarily computer sound cards and CD-ROM kits, operating from 1990 to approximately 1995 in Fremont, California. Media Vision was widely known for its Pro AudioSpectrum PC sound cards—which it often bundled with CD-ROM drives—and its spectacular growth and demise.
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The Downloadable Sounds (DLS) specification, ratified in 1997, allows mobile devices and computer sound cards to expand their wave tables with downloadable sound sets. The DLS Level 2 Specification followed in 2006, and defined a standardized synthesizer architecture. The Mobile DLS standard calls for DLS banks to be combined with SP-MIDI, as self- contained Mobile XMF files.
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Computer programs can be used to generate arbitrary waveforms on a general-purpose computer and output the waveform via an output interface. Such programs may be provided commercially or be freeware. Simple systems use a standard computer sound card as output device, limiting the accuracy of the output waveform and limiting frequency to lie within the audio-frequency band.
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It was an > astonishing opportunity. But in this case, the tie between the impetus, the > medium, and the need for technology was absolutely clear. If one listens to > the piece, one hears that [technology] was needed and also that it works. Odyssey (1989–93), primarily composed during the early 1990s, incorporates two singers, two speakers, instrumental ensemble, and six-channel computer sound.
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Tonearm performing at Territoria festival in Moscow, Oct. 2006 Tonearm is the stage name of Russian-born, New York-based musician Ilia Bis (Илья Бис).Krastev, Nikola (27 July 2009). Post-Soviet Musicians Look To Hit U.S. Mainstream, Radio Free Europe/Radio Liberty, Retrieved November 19, 2010 Bis grew up in Moscow and later moved to the United States to study mathematics and computer sound analysis.
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Before the emergence of software virtual instruments, computer sound hardware gradually shifted from synthesizer based sound and music reproduction (such as with Commodore SID or Yamaha OPN chips) to PCM-based chips, such as Commodore Amiga's Paula. Combined with computer's RAM and disk storage, these chips allowed for longer PCM recordings to be reproduced, and games and other software often used rompler-like software technology to reproduce music, most notable example being music trackers on Amiga. Later computer sound hardware employed hardware rompler and sample-based synthesizers (such as Gravis Ultrasound and E-mu/Creative SoundBlaster) to increase number of voices and reduce CPU usage for sound processing. As the processing power of personal computers grew, these hardware synthesizers were gradually abandoned and sound hardware of contemporary computers now usually has only PCM reproduction converters with all synthesis and reproduction logic implemented in software.
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The cost of TOR equipment has continued to fall. Although the system initially required specialised equipment, many amateur radio operators operate TOR (also known as RTTY) with special software and inexpensive hardware to connect computer sound cards to short-wave radios. Modern cablegrams or telegrams actually operate over dedicated telex networks, using TOR whenever required. Telex served as the forerunner of modern fax, email, and text messaging – both technically and stylistically.
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The Intel Play product line, developed and jointly marketed by Intel and Mattel, was a product line of consumer "toy" electronic devices. The other toys were the Digital Movie Creator, the Computer Sound Morpher, and the Me2Cam. The Intel Play product line was discontinued on March 29, 2002 when it was purchased by Tim Hall's holding company Prime Entertainment. Hall founded Digital Blue, which continue the Intel Play product line under the Digital Blue brand.
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Knowledge of modern music technology (sequencers, synthesizers, computer sound editing), songwriting elements and business skills are now often requirements for a songwriter. Several music colleges offer songwriting diplomas and degrees with music business modules. Since songwriting and publishing royalties can be substantial sources of income, particularly if a song becomes a hit record; legally, in the US, songs written after 1934 may be copied only by the authors. The legal power to grant these permissions may be bought, sold or transferred.
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If a PlainTalk-compatible microphone is not available, the jack can accept a line- level sound input, though it cannot accept a standard microphone without a preamp. Normally, 3.5 mm three-conductor sockets are used in computer sound cards for stereo output. Thus, for a sound card with 5.1 output, there will be three sockets to accommodate six channels: "front left and right", "surround left and right", and "center + subwoofer". 6.1 and 7.1 channel sound cards from Creative Labs, however, use a single three-conductor socket (for the front speakers) and two 4-conductor sockets.
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However, sound for computer applications also adds some new creative aspects to music and sound, because computer sound (especially in games) often involves the sound having or desired to be interactive. Adding interactivity can involve using a variety of playback systems or logic, using tools that allow the production of interactive sound (e.g. Max/MSP, Wwise) and it also deviates from being just an art form to also requiring software or electrical engineering, since implementing interactivity of sound also requires engineering of the systems that play the sound or e.g. process user input.
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During the 1940s-1960s, Raymond Scott, an American composer of electronic music, invented various kind of music sequencers for his electric compositions. Step sequencers played rigid patterns of notes using a grid of (usually) 16 buttons, or steps, each step being 1/16 of a measure. These patterns of notes were then chained together to form longer compositions. Software sequencers were continuously utilized since the 1950s in the context of computer music, including computer-played music (software sequencer), computer-composed music (music synthesis), and computer sound generation (sound synthesis).
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Juan Irming, known at the time as 7an, began in the European demoscene in the late '80s as a member and composer for the Atari ST demo crew and hacking group SYNC. Irming's "tracker music" placed first in several demo music contests. It was during this era that Irming began to make extensive use of vintage home computer hardware such as the Commodore 64, Atari 130XE, and the Atari ST in his productions, favoring the SID6581 and YM2149 computer sound chips to create a distinctive style of chiptune music.
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Tim Perkis is an experimental musician and writer who works with live electronic and computer sound. He has founded or played in live computer network bands such as the League of Automatic Music Composers and The Hub, as well as groups such as Rotodoti, the Natto Quartet, Fuzzybunny and All Tomorrow's Zombies. He has collaborated with John Bischoff, Chris Brown, John Butcher, Eugene Chadbourne, Fred Frith, Gianni Gebbia, Scot Gresham-Lancaster, Luc Houtkamp, Yoshi Ichiraku, Joelle Leandre, Roscoe Mitchell, Gino Robair, the ROVA Saxophone Quartet, Elliott Sharp, Leo Wadada Smith, and John Zorn.
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CDex is a free software package for Digital Audio Extraction from Audio CD (a so-called CD ripper) and audio format conversion for Microsoft Windows. It converts CDDA tracks from a CD to standard computer sound files, such as WAV, MP3, or Ogg Vorbis. CDex was previously released as free software under the terms of the GNU General Public License (GPL); however, although the website claims that this is still the case, no source code has been released since 2005. It was originally written by Albert L. Faber, and is developed and maintained by Georgy Berdyshev.
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A computer MIDI interface's main function is to match clock speeds between the MIDI device and the computer. Some computer sound cards include a standard MIDI connector, whereas others connect by any of various means that include the D-subminiature DA-15 game port, USB, FireWire, Ethernet or a proprietary connection. The increasing use of USB connectors in the 2000s has led to the availability of MIDI-to-USB data interfaces that can transfer MIDI channels to USB-equipped computers. Some MIDI keyboard controllers are equipped with USB jacks, and can be plugged into computers that run music software.
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A DJ mix or DJ mixset is a sequence of musical tracks typically mixed together to appear as one continuous track. DJ mixes are usually performed using a DJ mixer and multiple sounds sources, such as turntables, CD players, digital audio players or computer sound cards, sometimes with the addition of samplers and effects units, although it is possible to create one using sound editing software. DJ mixing is significantly different from live sound mixing. Remix services were offered beginning in the late 1970s in order to provide music which was more easily beatmixed by DJs for the dancefloor.
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Within its first two years of operation, Media Vision had become the second-largest producer of personal computer sound cards, providing strong competition to Creative Labs. It was the first company to offer a multimedia CD ROM kit (single-speed CD ROM drive from Sony and Media Vision sound card with an included CD Rom with games and a multimedia version of Compton's encyclopedia) at Fry's Electronics, the well known retailer, where manufacturers routinely tested sales of their new products. Media Vision's kits priced at US$1999 sold out within hours. All the larger computer companies such as Microsoft, Apple and others were the primary initial buyers according to Fry's Electronics.
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The company didn't manage to reinvent its workstation concept in order to survive the mid and late '90s, and no lower-budget versions of their keyboards were offered to replace the aging SQ line. Excellent synthesizers like the VFX or TS models lacked cheaper rack-mount counterparts. Finally, while the competition's products were continually evolving and newer technologies such as physical modeling were introduced, Ensoniq failed to follow the late '90s market orientation, often recycling old concepts on their new products. During this time, much of the engineering effort and company resources were focused on computer sound cards, which offered more profit for the company.
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During 2003-2007, E-mu designed and published a series of high-fidelity "Digital Audio Systems" (computer sound cards), intended for professional, semi-professional and computer audio enthusiast use. They were released under the name E-MU, however bearing a "Creative Professional" label. The card names are number-coded for the number of physical inputs and outputs: 0404, 1212m, 1616, 1616m, 1820 and 1820m, where 1616 is a CardBus version and the rest for PCI, while "m" denotes extra high-quality analogue outputs and inputs. The 1820m was touted as the series' flagship product until the 1616 and 1616M were released (A PCI version of the 1616/M later followed).
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This allows portable audio devices to make use of the louder or better sound quality of a home audio system or car stereo without requiring a wired connection. They are often used in cars but may also be in fixed locations such as broadcasting from a computer sound card throughout a building. Being low-powered, most transmitters typically have a short range of 100–300 feet (30–100 metres), depending on the quality of the receiver, obstructions and elevation. Typically they broadcast on any FM frequency from 87.5 to 108.0 MHz in most of the world, 76.0 - 95.0 MHz for Japan, 65.0 - 74.2 MHz for Russia, and 88.1 to 107.9 MHz in the US and Canada.
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Pro AudioSpectrum 16 with SCSI CD-ROM interface The Media Vision Pro AudioSpectrum (commonly referred to as "PAS") family of personal computer sound cards included the original 8-bit Pro AudioSpectrum (1991), the 8-bit Pro AudioSpectrum Plus, 16-bit Pro AudioSpectrum 16, Pro AudioSpectrum 16 Basic and 16-bit Pro Audio Studio. All PAS cards with the exception of Pro AudioSpectrum 16 Basic could connect to CD-ROM drives—variants having SCSI or various proprietary interfaces—and many were sold in multimedia kits with compatible CD-ROM drives. Though the 8-bit Pro AudioSpectrum cards were only modestly successful, the 16 bit-series cards aimed toward semi-professional users and hobby musicians were quite popular. These gave serious competition to the SoundBlaster 16.
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The SC-7 has two audio inputs (one with level adjust) to mix two different audio sources, for example, a D/A converter (a computer sound card) or an external CD-player together with the SC-7's own output all at the sound module's audio output, making it easy to connect to amplification or speaker devices. It can also be configured as a MIDI interface for either IBM PC/AT or Apple Macintosh computers with a special serial cable and Roland software. The Roland SCB-7 was a Roland MIDI Daughterboard version of the SC-7 that plugged into the Wave Blaster Connector of the Sound Blaster line of sound cards for the PC. The Roland RAP-10 was an ISA sound card with the SC-7 on board along with digital sampling.
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Sound mixer at work.A production sound mixer, location sound recordist, location sound engineer, or simply sound mixer is the member of a film crew or television crew responsible for recording all sound recording on set during the filmmaking or television production using professional audio equipment, for later inclusion in the finished product, or for reference to be used by the sound designer, sound effects editors, or foley artists (aka foley dancers). This requires choice and deployment of microphones, choice of recording media, and mixing of audio signals in real time. Sound technician with mixer, boom, slate and multiple wireless mic transmitters and receivers at San Diego Comic Con 2011Usually, the recordist will arrive on location with his/her own equipment, which normally includes microphones, radio systems, booms, mixing desk, audio storage, headphones, cables, tools, and a paper or computer sound logs.
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3.5 mm jacks for microphone, audio out, and line-level audio in A 3.5 mm plug for computer audio A 3.5 mm headphone socket (TRS) on a computer Personal computer sound cards, such as Creative Labs' Sound Blaster line, use a 3.5 mm phone connector as a mono microphone input, and deliver a 5 V voltage on the ring to power electret microphones. Sometimes termed phantom power, this is not a suitable power source for microphones designed for true phantom power and is better termed bias voltage. (Note that this is not a polarizing voltage for the condenser, as electrets by definition have an intrinsic voltage; it is power for a FET preamplifier built into the microphone.) Compatibility between different manufacturers is unreliable. The Apple PlainTalk microphone jack used on some older Macintosh systems is designed to accept an extended 3.5 mm three-conductor phone connector; in this case, the tip carries power for a preamplifier inside the microphone.
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CSIRAC played the earliest computer music in 1951 On the other hand, software sequencers were continuously utilized since the 1950s in the context of computer music, including computer-played music (software sequencer), computer-composed music (music synthesis), and computer sound generation (sound synthesis). In June 1951, the first computer music Colonel Bogey was played on CSIRAC, Australia's first digital computer.—another oldest known recording of computer realized music played by the Ferranti Mark 1, captured by BBC in Autumn, 1951; the songs Baa Baa Black Sheep and In the Mood. In 1956, Lejaren Hiller at the University of Illinois at Urbana–Champaign wrote one of the earliest programs for computer music composition on ILLIAC, and collaborated on the first piece, Illiac Suite for String Quartet, with Leonard Issaction. also available in In 1957 Max Mathews at Bell Labs wrote MUSIC, the first widely used program for sound generation, and a 17-second composition was performed by the IBM 704 computer.
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