To create a control function, you can simply draw in the function window (your mouse position is continually tracked and translated into relevant units) or click on one of the preset waveform buttons. The waveform buttons will fill the function with as many cycles as are set in the Cycles: box. If you click a waveform after there is something already in the function window, the waveform will modulate the function, rather than replace it. The Clear button will allow you to start with a clean slate. The Reverse button will time-reverse the function. The Invert button will flip it. It Shift button will rotate the function by up to 399 positions. The Smooth button will average adjacent entries in the function, this smoothing wraps around the beginning and end of the function, so watch out.
The boxes in the upper left and lower left corners allow a very primitive type of zooming. There is no facility for selecting, copy, paste or cut. One can read or write control functions as soundfiles by clicking the Read and Write buttons. The Time:legend refers to the time in the input soundfile and the other legend (Time stretch:) is updated depending on how the control function is applied.
soundhack doc top, table of contents
SOUNDFILE MENU
This simply allows you to select between the open soundfiles. The first ten soundfiles
open are given command key equivalents (Command - 1 to Command - 0).
Show Signal
This will bring up a window to show the sound whenever SoundHack reads or writes sound
(except during file copying and normalization). There are separate
windows available for all active soundfiles.
Show Spectrum
This will bring up a window to show the spectral data in all spectral operations (most
everything but varispeed, which I do in the time domain) There are separate windows
available for all active soundfiles.
Show Sonogram
This will also show spectral information but over time. Intensity is represented by
different colors where purple-red is the lowest intensity, green is mid intensity and
bright red is the highest intensity. This display will slow down any Macintosh
dramatically.
This allows you to pause during a long process. This is especially useful if you would
like to here the sound you have processed so far. If you are running a convolution, it
sometimes takes a while to pause (up to 3 minutes on a slow Mac II).
Continue Process
This will resume processing where you left off.
Stop Process
This will kill your process and close the output soundfile.
This loads a previously created settings file. This is also done automatically on startup
to the "SoundHack Pref" file in the ":System Folder:Preferences" folder.
Save Settings...
This will create a settings file which contains the current settings from the binaural,
convolution, spectral analysis, spectral dynamics, mutation, phase vocoder, varispeed,
gain and preferences dialog panels. This is done automatically when you quit SoundHack
to the "SoundHack Pref" file in the ":System Folder:Preferences" folder.
Default Settings
This will reset all internal settings to a default set. Recommended if you suspect your
"SoundHack Pref" file is corrupt.
Preferences...
This allows you to set a few things. You can set SoundHack to automatically play
a soundfile when it is opened. This is a very nice way to set things if you are using
SoundHack as your web browser helper application. If you set an editor, then you can use
the Close & Edit command (described earlier).
The Default File Type, when set, will give you the selected file type and format
whenever you create a new soundfile.
Apple Computer, Inc., Inside Macintosh, Volume 1-6, Addison Wesley, Reading, Mass., 1985-91.
Larry Polansky for his
mutation functions, for helping me edit this document. and for his unending
encouragement, criticism and support.
Dr. Durand Begault of NASA-Ames for letting me use his binaural filter coefficients.
Dan Ellis of MIT's Media Lab for helping
me with the Csound analysis feature.
Zack Settel for relating his work on spectral extraction to me.
Scott Morgan and Geoff Hufford for all their Macintosh toolbox help.
Tim Walters, Jeanne Parson, Kent Clelland,
Vincent Carte, George Taylor, Zach Belica, Phil Burk, Curtis Roads, Richard Boulanger
and many others for their many comments, bug reports and encouragement.
The Bregman Electro-Acoustic Music Studio at
Dartmouth College for sponsoring my initial Power Macintosh development.
The Center for Contemporary Music at Mills College and the
CalArts School of Music for sponsoring all of the
rest of my activities.
All the wonderful people who sent me their music including: ~
Marc Battier ~
Philippe Blanchard ~
Gregory G Booth ~
Chris Brown ~
Ray Brunelle ~
Kim Cascone ~
Xopher Davidson ~
Bruno Degazio ~
Rohan De Livera ~
Paul DeMarinus ~
John Duesenberry ~
Ambrose Field ~
Howard Fredrics ~
Chris Grigg ~
Ray Guillette ~
Jose Halac ~
Jeff Hass ~
Patrick Heilman ~
Brian Hill ~
Steev Hise ~
Naut Humon ~
John Hudak ~
Øivind Idso ~
Jim Keiser ~
Richard Lerman ~
Gregory Lenczycki ~
Eric Lyon ~
A. M. McKenzie ~
Chris Meyer ~
Steve Miller ~
Diego Minciacchi ~
Jean-Louis Morgere ~
Gary Lee Nelson ~
Bob Ostertag ~
John Oswald ~
Michel Pascal ~
Maggi Payne ~
Heather Perkins ~
Richard Pinhas ~
John Pospisil ~
Trent Reznor ~
Jøran Rudi ~
Bruno Spoerri ~
Hans Vallden ~
Jeremy Wells ~
Micheal White ~
Beth Wiemann ~
Bob Willey ~
Erling Wold ~
soundhack doc top,
table of contents
CONTROL MENU
soundhack doc top,
table of contents
Pause Process
soundhack doc top,
table of contents
Load Settings...
soundhack doc top,
table of contents
FUTURE PLANS
soundhack doc top,
table of contents
BUG FIXES AND REVISIONS
soundhack doc top,
table of contents
BIBLIOGRAPHY
Begault, Durand R., Control of Auditory Distance, P.H.D. dissertation, University of California, San Diego, 1987.
Begault, Durand R., 3-D sound for virtual reality and multimedia,Academic Press
Professional, Cambridge, MA, 1994.
Blauert, J., Spatial Hearing, MIT Press, Cambridge, Mass., 1983.
Dolson, Mark, "The Phase Vocoder: A Tutorial", Computer Music Journal 10:4, 1986.
Ellis, Dan, "pvanal.c", part of the Csound distribution, MIT, 1991.
Gordon, J. W. and Strawn, J., "An Introduction to the Phase Vocoder", Digital Audio Signal Processing: An Anthology, editor J. Strawn, Kaufmann, Los Altos, Calif., 1985.
Mark, David and Reed, Cartwright, Macintosh C Programming PRIMER, Volume I, Addison Wesley, Reading, Mass., 1989.
Moore, F. Richard Elements of Computer Music, Prentice Hall, Englewood Cliffs, NJ, 1990.
Polansky, L. "More on Morphological Mutations: Recent Techniques and Developments,"Proceedings of the ICMC., San Jose, 1992.
Polansky, L. and McKinney, M. "Morphological Mutation Functions: Applications to Motivic Transformations and to a New Class of Cross-Synthesis Techniques." Proceedings of the ICMC. Montreal, 1991.
Reed, C. E. and Passin, T. B., Signal Processing in C, John Wiley, New York, NY, 1992.
Settel, Z. and Lippe, C. "Real-time Musical Applications using FFT-based
Resynthesis", Proceedings of the 1994 International Computer Music Conference. Diem Aarhus, Denmark 1994.
Vaseghi, S. and Frayling-Cork, R., "Restoration of Old Gramophone Recordings", Journal of the AES, 40:10, 1992.
soundhack doc top,
table of contents
ACKNOWLEDGEMENTS
soundhack doc top,
table of contents