To LeCaineВ’s invention in that it allowed composers to draw linesДЄnd curves that represent control information for a bank of oscillators UPIC (UnitГ© Polyagogique Informatique du CEMAMu) system, was similar One of the first digital graphics-to-sound schemes, Iannis XenakisВ’s On the right is one of LeCaineВ’s inventions, an electronic musical instrument called the Spectrogram. LeCaine was especially interested in physical and visual descriptions of electronic music. Sound familiar? It shouldВ—LeCaineВ’s Spectrogram was essentially an analog additive synthesis instrument!ДЇigure 5.18 Canadian composer and instrument builder, and one of the great pioneers of electronic and computer music, Hugh LeCaine. The paper was fed into the instrument, which sensed the curves and used them to determine the frequency and volume of each oscillator. In the late 1950s, he created an instrument called the Spectrogram, consisting of a bank of 108 analog sine wave oscillators controlled by curves drawn on long rolls of paper. A light shining through the waveform allowed electronicД¬ircuitry to sense and play back the sound.Д¬anadian inventor and composer Hugh LeCaine took a different approach. Or even drawn by hand (as in the wonderfully imaginative work of CanadianДЇilmmaker Norman McLaren), on a thin stripe of film running along the In fact, some of theД®arliest film sound technology was opticalВ—a waveform was printed, Were a number of graphics-to-sound systems in use. Is not a new idea, although itВ’s only recently that weВ’ve had Timbre is often called 'sound color,' even though soundД¬olor should more appropriately be analogized to frequency/pitch.Д¬omputer musicians have often been interested in working with soundsДЇrom a purely graphical perspectiveВ—a 'letВ’s see what would To understand sound and music, and most importantly their own experience Color organs, sound pictures, even just visualДescriptions of sound have been an important part of the way people try Throughout history, certain people have been synaestheticВ—they In fact, people in general are fascinated In this area seems geared more toward sonic manipulation than synthesis.Д¬omposers have always been interested in exploring the relationshipsД«etween color, shape, and sound. Although graphical techniques are used forД«oth the synthesis and transformation of sounds, much of the current work This could be looked upon as eitherДЄ drawback or an advantage. Issues about it is that the graphical manipulations may not have any obvious

In the theory and tools needed to do such work. Graphical manipulation of sound is still a relatively underdevelopedДЄnd emerging field, and the last few years have seen some exciting developments It to some other place, or erase part of it, or apply a 'blur' If you could draw a box around some region of a sound and simply drag What would he sound like? Or how about editing a sound as an imageВ—what Going the other way? What about creating a picture of a sound,ДЄnd then synthesizing it into an actual sound? Or how about starting withДЄ picture of something elseв‰Ѕan RockmoreВ’s dog Digger, for instance? Spectral data in sonograms, waterfall plots, and so on. Possible to take sounds and turn them into pictures by displaying their Chapter 5: The Transformation of Sound by Computer Section 5.7: Graphical Manipulation of Sound

Soundhack for windows