How to create the illusion of distance with sounds by altering their volume, harmonic spectrum, and dry/wet reverb balance.
Spatializaton is placing sounds in a spatial location or creating the illusion that sounds are in a spatial location. We can choose a sound’s direction, where it’s coming from; distance, how far away it sounds; and also the size and shape of the space where the sound is occurring. In this video, I focus on distance, and demonstrate the steps to move something forward and back from the listener.
I demonstrate this in Pro Tools, but this process can be applied to the digital audio workstation of your choice or any other audio programming environment.
I’ve put together some videos on using microcontrollers (like Arduino) for music and sound applications.
In these first few videos I go over how to do some simple synthesis with an Arduino, controlling pitch and timbre with potentiometers and light-dependent resistors (LDRs)–essentially putting together some Arduino chiptunes!
I originally made these instructional videos for my class, but I’m hoping to continue to build on this playlist if there’s interest.
I’ve put together a series of beginner tutorials for getting started designing your own synths in Reaktor 6 Primary.
Over the course of this series, we put together a synth with selectable oscillators, filters, and multiple options for modulation. This can serve as a good hands-on introduction to synthesis in Reaktor or any other synthesis environment.
Make a Pure Data patch that generates synth Halloween music–“dissonant music in odd time signatures.”
Horror music offers a great deal of creative license, and there is no one-size-fits-all solution to spooky music. In this video I go through a few examples, then talk about how we can make a simple generative music system that creates pulsed, dissonant, repetitive music like John Carpenter’s score to Halloween (1978) or Mike Oldfield’s “Tubular Bells” (which became the theme to The Exorcist 1973). We start by making a simple sequencer, and then randomize and automate different aspects of it (tempo, roots, sequences).
A quick disclaimer, in retrospect, I realize I played a little fast and loose with the order of how things are processed here (looking especially at how I’m adding things), and I might have done some things in a different way, but everything works for our purposes, and I’ll plan to talk about that more next time.
Since COVID-19 has pushed a great deal of teaching and learning online, I’ve been converting a lot of my synthesis lessons into “micro-lectures”, 5- to 10-minute videos, that can be integrated into online learning.
These videos are all software-agnostic, focusing on principles and fundamental ideas of sound synthesis over any particular synthesis environment.
More instructional playlists are available on my “Teaching” page.