mus271b – syllabus

music 271b - survey of electronic music techniques - spring 2017
cpmc 365 - wednesday 2 to 5
tom erbe - cpmc 254 - office hours by appt.
tre@music.ucsd.edu - http://tre.ucsd.edu/

we will be talking about fundamental techniques in computer music in this class. i’ll spend 1 or 2 classes on each topic and i will give an assignment about every two weeks. the topics are most likely to be:

1 – oscillators, modulators, harmonics, sequencing, polyphony

2 – filters, amplifiers, distortion, waveshaping, harmonizers, MIDI

3 – sampling, looping, brassage, granular techniques

4 – delay, chorus, flange, reverb

5 – spectral techniques, convolution, time & pitch shifting

6 – spatialization, binaural filters, VBAP, ambisonics

7 – physical modeling, waveguides, modal synthesis

other possible topics will be discussed in the first class according to your interest.

throughout the class we will focus on general Max/MSP techniques, controllers, interfaces, etc.

for each assignment, i will ask you to present your project in class. your projects should generally take the form of a short study, in which you will need to demonstrate the techniques assigned.

your grade will be based on:

90% – the 5 assignments

5% – attendance and participation

text – i will point out readings in miller’s textbook from time to time, as well as relevant articles from the cycling74 website.

Music 172 – Syllabus

music 172 - computer music ii - spring 2017
cpmc 367 - tuesday, thursday 2:00 - 3:20, lab thursday 3:30 - 4:20
tom erbe - cpmc 254 - 9:00-11:00, 12:30-2:00 - tues/thur
tre@music.ucsd.edu - http://music.ucsd.edu/~tre
ta - tina tallon - ttallon@ucsd.edu

we will be talking about various topics in computer music in this class getting into more depth than 171, and looking specifically at application of these techniques. i’ll spend about 2-4 classes on each topic and i will assign a project for each topic as well. the topics are most likely to be:

1 – oscillators, modulators, harmonics, sequencing, polyphony

2 – filters, amplifiers, distortion, waveshaping, harmonizers, MIDI

3 – sampling, looping, brassage, granular techniques

4 – spectral techniques, convolution, time & pitch shifting

5 – spatialization, reverb, vbap, ambisonics

6 – physical modeling, waveguides, modal synthesis

there will be 4 assignments and a final project. your projects should generally take the form of a piece of music, or a software/equipment design, in which you will need to demonstrate the techniques covered. class examples will appear on tre.ucsd.edu.

all of your work should be original. if you study with your classmates, you should each complete an original patch. copied work is not allowed. late assignments will be accepted, but will lose 1 point each week (assignments have 15 points). no late material accepted after week 10. assignments should be ZIP compressed and handed in via TritonEd.

your grade will be based on:

60% – 4 assignments (15 points each)

30% – final project

10% – attendance and participation

i will occasionally refer to miller puckette’s text book and point to relevant chapters.

MUS 177/267 – allpass filter

/ allpass filter, non-interpolating
float allpass(float input, int32_t delaySamps, float gain, float *apBuffer, int32_t *writePos, )
{
float readOut, writeIn;
int32_t i, readPos;
readPos = *(writePos);

/* read from delay line */
readOut =  *(apBuffer+readPos);
/* put data in */
writeIn = input + (readOut * gain);
*(apBuffer+readPos) = writeIn;

readPos++;
readPos = (readPos == delaySamps) ? 0 : readPos;
*writePos = readPos;

readOut -= (writeIn * gain);
return(readOut);
}